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20211229 homework

2021-12-31T03:17:15Z

Wei Zhaoyan: /* 魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学）女 202120081527 */

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

PLEASE READ [[Joint_translation_terms|Joint translation terms]]

PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211013_homework|for Oct 13 - HLM Chapters 20-21]] [[20211020_homework|for Oct 20 - HLM Chapters 21-22]] [[20211027_homework|for Oct 27 - HLM Chapters 23-24]] etc.

==陈静 Chén Jìng 国别女 202020080595==

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

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

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

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

古人以为心窍越多越聪明，故以“心较比干多一窍” 形容黛玉绝顶聪明。

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

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

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

==曾俊霖 Zēng Jùnlín 国别男 202120081478==

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

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

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

“花气袭人”之句：是宋·陆游《村居书喜》中的半句，原诗为七言律诗：

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

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

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

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

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

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

==陈心怡 Chén Xīnyí 翻译学女 202120081481==

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

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

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

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

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

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

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

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

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

指子女早晨向父母请安问候的礼节。

第四回薄命女偏逢薄命郎，葫芦僧判断葫芦案

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

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

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

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

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

==付诗雨 Fù Shīyǔ 日语语言文学女 202120081486==

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

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

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

==高蜜 Gāo Mì 翻译学女 202120081487==

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

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

When Midfielder Plum became head of the family, however, in the belief that “a woman without talent is virtue,” instead of making his daughter study hard he simply had her taught enough to read a few books such as the ''Four Books for Girls'', ''Biographies of Martyred Women'', and ''Lives of Exemplary Ladies'' so that she might be able to recognize a few characters and be familiar with some of the models of female virtue of former ages;--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 15:35, 30 December 2021 (UTC)

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

却以纺绩女红为要，因取名为李纨，字宫裁。所以这李纨虽青春丧偶，且居处于膏粱锦绣之中，竟如槁木死灰一般，一概不问不闻，惟知侍亲养子，闲时陪侍小姑等针黹、诵读而已。
However, the main thing is the textile female red, so the name is Silk Plum, i.e Gongcai . Therefore, although Silk Plum was widowed when she was young and lived in a magnificent state, she did not pay attention to it, her heart was as dead as ashes. She only knew how to serve parents and raise children. In her spare time, she accompanies sister-in-law(husband's side) and others to make needlework and read poetry and books.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 15:48, 30 December 2021 (UTC)

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

==何芩 Hé Qín 翻译学女 202120081489==

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

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

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

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

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

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

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

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

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

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

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

==黄柱梁 Huáng Zhùliáng 国别男 202120081493==

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

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

==金晓童 Jīn Xiǎotóng 202120081494==

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

==李双 Lǐ Shuāng 翻译学女 202120081499==

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

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

The doorman said: “Nowadays every magistrate has a personal list, which contains the names of the most powerful and wealthy squires in the province. It’s the same in all the provinces. If you don’t do this, you may lose your position even your life once you offend them.”--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 11:50, 30 December 2021 (UTC)

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

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

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

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

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

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

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

==李怡 Lǐ Yí 法语语言文学女 202120081504==

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

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

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

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

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

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

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

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

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

Maybe you know the direction in which the murderer is hiding."The doorman said with a smile: "I don't want to hide it from the master, not only I know the direction in which the murderer is hiding, but also I know the person who abducted it, and the buyer of the dead ghost knows it well. WLet me talk to you in detail: --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 08:55, 30 December 2021 (UTC)Liu Wei

==刘薇 Liú Wēi 国别女 202120081507==

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

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

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

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

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

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

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

==刘越 Liú Yuè 亚非语言文学女 202120081509==

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

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

Childe Marshgrass then rudely ordered his servants to take action. Feng was beaten up so badly that he died within three days after he was carried home. Childe Marshgrass had intended to go to the capital in a few days. Even though he had beaten Feng and abducted the maid, he acted as if nothing had happened, and simply hit the road with his family. It is not because he wanted to run away.--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 15:49, 30 December 2021 (UTC)

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

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

Those minor matters concerning people’s lives are taken care of by his brothers and servants. Aside from this, my master, do you know who’s the girl been sold?” Rainvillage Merchant applied: “How am I supposed to know?” The junior clerk sneered: “She helped you a lot in the past, my master!” --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 15:39, 30 December 2021 (UTC)

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

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

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

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

She is the daughter of Master Truth, nicknamed Pity,who lived by the Gourd Temple." Yu Cun shocked: "So it's her! I heard that she was abducted at five,but why she didn't be sold until recently?"Menzi said:"This kind of abductor abducts only young girls and raises them until they are 12 or 13 years old, then takes them to other places and sells them.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 02:24, 31 December 2021 (UTC)

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

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

We knew this Yinglian very well because we played with him every day, so after seven or eight years,though his appearance has grown more mature，her basic appearance doesn‘t change，so I can recognize her；Moreover，there is an inborn little carmine point between his eyebrows.

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

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

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

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

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

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

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

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

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

==毛优 Máo Yōu 俄语语言文学女 202120081515==

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

"What the Lordship says is true, but it is not possible to do it in the world today. Don't you know what the ancients said: 'A great man moves with the times.' And they also say, 'A gentleman is a gentleman who tries to avoid bad luck. According to you, not only will you not be able to serve the court, but you will also not be able to protect yourself, so you should think twice."--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 13:11, 30 December 2021 (UTC)

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

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

Djia Yu-tsun bowed his head for half a day before saying, "What do you think?" Mencius said, "I have a very good idea here: Your Lordship will sit in the hall tomorrow, just bluff, move the papers and issue the signatures to take the people.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 13:09, 30 December 2021 (UTC)

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

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

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

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

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

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

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

The lord requested to set out the altar in order to invite immortals to come, and let the military and people to come to see. The lord then said that the coscinomancy implied that the dead Feng Yuan and Dragon Marshgrass should have come to an end because they used to be long-standing and are bound to meet head-on on a narrow road.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 14:57, 30 December 2021 (UTC)

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

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

Now Dragon Marshgrass suffered from a nameless disease and died because he was pursued by Feng Yuan's soul. The disaster is caused by the trickster so he will be punished according to the law, not involving others. The villain secretly asked the trickster to tell the truth.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 15:05, 30 December 2021 (UTC)

Now Dragon Marshgrass suffered from a nameless disease and died as he was pursued by Feng Yuan's soul. The disaster was caused by the trickster so he would be punished according to the law, not involving others. The villain secretly asked the trickster to tell the truth.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 03:17, 31 December 2021 (UTC)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

==颜莉莉 Yán Lìlì 国别女 202120081537==

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

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

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

==颜子涵 Yán Zǐhán 国别女 202120081538==

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

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

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

==阳佳颖 Yáng Jiāyǐng 国别女 202120081540==

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

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

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

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

==杨堃 Yáng Kūn 法语语言文学女 202120081542==

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

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

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

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

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

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

==叶维杰 Yè Wéijié 国别男 202120081544==

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

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

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

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

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

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

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

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

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

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

"We should visit our relatives first during this trip to the capital Beijing. We can either go to your uncle‘s or your aunt‘s husband’s house because both of them are very spacious. Wouldn't it be better if we stay there for the moment and then send someone to clean up the house?"--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:15, 30 December 2021 (UTC)

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

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

Dragon Marshgrass said: "Now that uncle gets promoted to another province, it's only natural for the household to be bustling about. Wouldn't it be inconsiderate if we come to visit him at this particular moment?" His mother answered:" Be that as it may, we can still go to your aunt's husband's house."--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:33, 30 December 2021 (UTC)

Dragon Marshgrass said: "Now that uncle gets promoted to be the leader of another province, it's very common for the household to be bustling about. Wouldn't it be inconsiderate if we all come to visit him at this particular moment?" His mother answered:" Be that as it may, we can still go to your aunt's house."--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 02:47, 31 December 2021 (UTC)

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

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

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

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

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

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

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

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

==张扬 Zhāng Yáng 国别男 202120081551==

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Lady King knew that it was not difficult to solve this problem, so she agreed to come down. From then on, the mother and daughter of the Marshgrass family lived in the Pear Fragrant Court. It turned out that the pear Hyangwon used to be the residence of King Yeongguk when he retired. It was small, but there were about a dozen houses with a complete front hall and back yard.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 07:49, 29 December 2021 (UTC)
Lady King knew that it was not difficult to solve this problem, thus agreeing to come down. From then on, the mother and daughter of the Marshgrass family lived in the Pear Fragrant Court. It turned out that the pear Hyangwon used to be the residence of King Yeongguk when he retired. It was delicate , but there were about a dozen houses with a complete front hall and back yard.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 11:30, 30 December 2021 (UTC)

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

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

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

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

==周清 Zhōu Qīng 法语语言文学女 202120081558==

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

During the day, Precious Hairpin Marshgrass was in peace with Mascara Jade Forest and her sister Pring Pleasure Merchant, reading a book, playing chess, or doing stitches. It's just that Dragon Marshgrass didn't want to live in Jia's house at first, and was afraid of his uncle's control and uncomfortable. But my mother insisted on staying here, and the people in Jia's house were so diligent to stay, so they had to stay temporarily.

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

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

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

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

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

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

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

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

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

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

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

==Nadia 202011080004==

这些子弟们所以只管放意畅怀的，因此薛蟠遂将移居之念渐渐打灭了。

==Mahzad Heydarian 玛莎 202021080004==

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

==Mariam Toure 2020GBJ002301==

“葫芦”的谐音为糊涂，故其意谓糊涂僧糊涂判案。

==Rouabah Soumaya 202121080001==

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

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

==Muhammad Numan 202121080002==

女子无才便是德──语出明·张岱《公祭祁夫人文》：

==Atta Ur Rahman 202121080003==

“(陈)眉公曰：‘丈夫有德便是才，女子无才便是德。’此语殊为未确。”

==Muhammad Saqib Mehran 202121080004==

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

==Zohaib Chand 202121080005==

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

==Jawad Ahmad 202121080006==

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

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

==Nizam Uddin 202121080007==

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

==Öncü 202121080008==

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

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

==Akira Jantarat 202121080009==

纺绩女红(gōng工)──泛指女子应做的家务活计。

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

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

==Benjamin Wellsand 202111080118==

纺绩：“纺”是把丝纺成纱，“绩”是把麻绩成线。

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

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

==Asep Budiman 202111080020==

女红：又作“女工”或“女功”。

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

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

==Ei Mon Kyaw 202111080021==

是指纺织、缝纫、刺绣等。

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

which refers to textiles, sewing, embroidery, etc.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 08:27, 30 December 2021 (UTC)

Hist Trans Theo EN 12

2021-12-30T07:23:30Z

Wei Zhaoyan: /* 2.2 Martin Luther: the Tongue of the Common Man */

'''History of Translation Theories'''

[[History_of_Translation_Theories|Overview Page of History of Translation Theories]]

30 Chapters（0/30)

[[Hist_Trans_Theo_EN_1]] [[Hist_Trans_Theo_EN_2]] [[Hist_Trans_Theo_EN_3]] [[Hist_Trans_Theo_EN_4]] [[Hist_Trans_Theo_EN_5]] [[Hist_Trans_Theo_EN_6]] [[Hist_Trans_Theo_EN_7]] [[Hist_Trans_Theo_EN_8]] [[Hist_Trans_Theo_EN_9]] [[Hist_Trans_Theo_EN_10]] [[Hist_Trans_Theo_EN_11]] [[Hist_Trans_Theo_EN_12]] [[Hist_Trans_Theo_EN_13]] [[Hist_Trans_Theo_EN_14]] [[Hist_Trans_Theo_EN_15]] [[Hist_Trans_Theo_EN_16]] [[Hist_Trans_Theo_EN_17]] [[Hist_Trans_Theo_EN_18]] [[Hist_Trans_Theo_EN_19]] [[Hist_Trans_Theo_EN_20]] [[Hist_Trans_Theo_EN_21]] [[Hist_Trans_Theo_EN_22]] [[Hist_Trans_Theo_EN_23]] [[Hist_Trans_Theo_EN_24]] [[Hist_Trans_Theo_EN_25]] [[Hist_Trans_Theo_EN_26]] [[Hist_Trans_Theo_EN_27]] [[Hist_Trans_Theo_EN_28]] [[Hist_Trans_Theo_EN_29]] [[Hist_Trans_Theo_EN_30]] ...

[[Book_projects|Back to translation project overview]] [[DCG-To-Do|Zur To-Do-Liste]]

=12 魏兆妍 The Humanistic Trend in Western Translation Theory from the 14th to the 19th Century=
[[Hist_Trans_Theo_EN_12]]

'''The Humanistic Trend in Western Translation Theory from the 14th to the 19th Century'''

'''14世纪至19世纪西方翻译理论中的人文主义思潮'''

Wei Zhaoyan 魏兆妍 Hunan Normal University, China 202120081528

===Abstract===
From the 14th century, Europe began to enter into the Renaissance, and the Christian world view gradually degenerated with the emergence of individual centered humanism. With the invention of printing in the 15th century, reading translated works from different countries was no longer a noble enjoyment. Translation was called the forerunner of the Renaissance. In Europe, the writers, thinkers and scholars in this period were also translators who knew several languages, and we can see that translation and creation were closely linked. This paper will focus on the humanistic trend in western translation theory from the 14th to the 19th century, and will also enumerate the representative figures and their translation ideas in this period.

===Key words===
Humanistic trend, Western translation theory, Poetics of translation, National and world visions

===摘要===
从14世纪开始，欧洲进入了文艺复兴时期，基督教世界观随着以个人为中心的人文主义的出现而逐渐退化。顺从上帝的人被视为理性而独特的个体，他们强调自己的创造潜力，充分发挥自己的才能。随着15世纪印刷术的发明，教育和学校开始向公众开放。阅读不同国家的翻译作品不再是一种高尚的享受。文字和信息通过翻译向四面八方传播，而且速度更快。翻译被称为文艺复兴的先驱。可以说，没有翻译，就没有欧洲文艺复兴和人文思想。在欧洲，这一时期的作家、思想家和学者也是通晓多种语言的翻译家，可见翻译与创作是紧密相连的。本文将着重探讨14世纪至19世纪西方翻译理论中的人文主义思潮，并列举这一时期的代表性人物及其翻译思想。

===关键词===
人文主义思潮；西方翻译理论；翻译诗学；民族与世界视野

===1. Introduction===

From the 14th century, Europe began to enter into the Renaissance. Dante, the last poet in the middle ages, completed ''The Divine Comedy'' in 1321. In Dante's mind, all human life experience, including life and death, must be explained by Christian faith in order to show its meaning and significance. This Christian worldview gradually degenerated with the emergence of individualism-centered humanism. All beings who submitted to God were regarded as rational, unique and creative individuals. In the past years, translators were servants attached to God. Now they have shifted from God to focusing on the translator. Personal development has become the goal and value of life. Although humanist thinkers, writers and translators still maintain the Christian faith, they put more emphasis on personal creative potential and give full play to people's strengths. The focus of translation activities in this period also shifted from the classics of the Christian Church to the translation of more secular humanistic works.

With the invention of printing in the 15th century, education and schools began to be open to the public. Reading translated works from different countries was no longer a noble enjoyment. Through the wings of translation, words and information were transmitted in all directions and more quickly. For example, Marco Polo (1254-1324) told the story of his travels in China, which spread all over the European continent through printed words. The invention of printing not only brought about a cultural revolution, but also a sharp increase in the number of translations. Translation is known as the forerunner of the Renaissance. It can be said that without translation, there would be no European Renaissance and humanistic thought. Take the role of translation in English literature for example: "Translation played a great role in the British Renaissance: first, as a pioneer, it was countless translated works that first caused the mental climate of humanism. Second, translation was still active in the era of the restoration of the king's government, but attention has turned to French works. In the intervening years, that is, in the half century from 1558 to 1603 when Queen Elizabeth was in office, translation activities were more frequent, and famous translations also appeared the most frequently, which constituted a translation climax in the whole history of English literature. " In the Queen Elizabeth era, translation reached an unprecedented prosperity, and good translations of famous works continued to emerge. In the following 17th to 18th centuries, neoclassical literary translation surpassed the previous stage. Translation was particularly important to the development of modern English language, literature and culture. (Wang Zuoliang, He Qishen 1996: 72）

In Europe, the writers, thinkers and scholars in this period were translators who knew several languages, translation and creation were closely linked. A large number of scholars and poets have expressed their opinions on translation. From the 14th to the 16th century, the most representative was Dante's "untranslatability of literature" in Italy (1265-1321); Erasmus of the Netherlands (1466 - 1536) relied on the translator's language knowledge in the translation of ''The Bible''; The translation of German Luther (1482 - 1546) must adopt the language of the people; The translators in Dore’ s mind (1509-1546) in France must understand the original content, be proficient in two languages, avoid word for word translation, adopt popular form and pay attention to the "five translation principles" of beautiful style; Poetry translation in English Chapman' s(1559-1634) mind can not be stiff translation, and the poetry translation method of "rebuilding a new image" can be used.

From the 17th to the 19th century, the representative figures were as follows. Abranco of France: the translation method of “the beautiful unfaithful ones” which emphasized literariness and readability; Bartow (1731-1780) : accurate translation view of "the author is the master and the translator is the servant"; Dryden (1747-1841) of England: three translation principles of "literal translation, free translation and imitation translation"; Tytler (1747-1814): three translation principles of "the translation must completely reproduce the thought of the original work: the style and tone of the translation must be consistent with the characteristics of the original; the translation must be as smooth as the original." ; Humanistic thinker Herder (1744-1830) of German Romanticism: made a pioneering thinking on the language, nationality and the characteristics of relativism in translation. Goethe (1749-1832) of German: called the translator as "the prophet of the people"; Humboldt (1767-1835): expressed the views on translatability and untranslatability which had a great impact on the 20th century. The foreignization translation method of Schleiermacher (1768-1834) in the later stage has influenced the deconstructive translation theory of the 20th century. For the above representative figures and different translation views, this paper will focus on the humanistic trend and enumerate some of the representatives according to the development sequence of the history of western translation theory.

===2. The "Rebels" Who Change the Traditional Concept of Translation===
Since Jerome, the debate between literal and free translation has begun in the west. The dispute between them actually involves the question of whether translation should be equivalent to the original text, that is, faithfulness, which is also a thread running through western translation theory for more than 2000 years. Since the Renaissance, people have become more and more aware of their own subjectivity, but religious influence is everywhere all the time. As a translator, if he has any unconventional translation behavior, he may be persecuted by spirit and body, even lead to death. A history of western translation can be said to be written in the life and blood of translators to a certain extent.

Between 1536 and 1546, three translators died. Two of them were caused by translation work. They were French translation theorist Dolet, religious reformer and translator Martin Luther as well as British translator William Tyndale.
====2.1 Etiene Dolet: Five Principles of Translation====
In the history of western translation theory, the first humanist to systematically expound translation theory was Etiene Dolet(1509-1546). Dolet is a translator, printer and scholar. He is the first translator suffering from translation since the Renaissance. He is a learned, versatile and liberated translator. His interpretation of classics was regarded as walking between orthodoxy and paganism. The European Church has advocated for a long time that the translation of ''The Bible'' should be literal translation, especially the Roman Catholic Church supported the "correct" and conventional translation of ''The Bible'' . Any interpretation and translation that deviated from the classics may be regarded as heresy, criticized and prohibited, and some adventurous interpreters and translators suffered a horrible fate. In 1546, the Theological Seminary of Sorbonne University in France identified that Dolet added the phrase "whereas you will no longer be anything at all" without foundation in the translation of a paragraph about "existence after human death" in Plato's dialogue ''Axiochus'', then he was burned alive at the stake. This paragraph is as follows:

The original text in Greek: Hoti peri men tous zôntas ouk estin, hoi de apothanontes ouk eisin. hôste oute peri se nun estin, ou gar tethnêkas oute ei ti pathois, estai peri se su gar ouk esei.

The French translation by Dolet: Pour ce qu'il est certain que la mort n'est point aux vivants: et quant aux defuncs, ilz ne sont plus: donques la mort les atouches encore moins. Parquoy elle ne peult rien sur toy, car tu n'est pas encores prest à deceder; et quand tu seras décédé, elle n'y pourra rien aussi，attendu que tu ne seras plus ''rien du tou''. (The text in sixteenth century cited by Ballard and Copley Christie)

The translation in English:Since it is certain death is not at all among the living: and as for the dead, they no longer are: therefore, death touches them even less. And hence death can do nothing to you, for you are not yet ready to die, and when you have died, death will also not be able to do anything, since you will no longer be ''anything at all''.

This paragraph by Plato is an obvious atheist view. It is close to the meaning of "how can you know death when you don't know life" (''The Analects of Confucius''). The original Greek version is abstruse and difficult to understand, and there are omissions in many places. It can't be translated without adding cohesive devices. The three words added in italic French and English in the text only play a role in connecting and do not change the meaning of the original text. Dolet's addition was accused of "blasphemy", because such translation was accused of "denying the eternity of the soul", and it was precisely because he "made" this fatal translation "mistake" that he was burned at the age of 37. This accusation was a typical "unnecessary" accusation. As a translator, Dolet only translated the meaning of the original text and did not understand it improperly. The key was that Plato described Aristotle's conversation, Sorbonne's clergy could not blame Plato, so they had to blame Dolet for adding the three French words “rien du tout” (nothing at all) , because these three words could not be found in Greek or Latin, the church accused him of misunderstanding Plato's intention, blaspheming the gods and not believing in eternity. So, the risk of translation arises.

Because Dolet was persecuted by the clergy to death, his "five principles on translation" was cherished by the western translation field. Dolet's "five principles on translation" came from ''The Way of Translating Well from One Language into Another'' (1540) The excerpts of the original text are as follows:

To translate well from one language into another requires in the main five things:

(1)In the first place, the translator must understand perfectly the sense and matter of the author he is translating, although he should feel free to clarifty obscurities.

(2)The translator should have a perfect knowldgwe of boh SL and IL, so as not to lessen the majesty of the language.

(3) The translator should avoid word for word renderings.

(4)The translator should avoid Latinate and unusual forms.

(5)The translator should assemble and liaise words eloquently to avoid clumsiness.(Robinson, Douglas 1997: 95~96)

From the five translation principles put forward by Dolet, he advocated free translation, especially he didn't advocate rigid literal translation and paid attention to the beauty of the translation. Articles 1 and 2 can be regarded as the necessary conditions for translators. The latter three advocate that translators should use fresh language expressions, avoid using rare Greek or Latin words, but use natural and fluent forms in the target language in order to improve the social status and influence of French, Italian, German and Spanish after the disintegration of Latin. These five principles emphasized that the translator cannot follow the master like a slave, being obedient and using word for word translation method which show that the translator is poor in skills and lacks rich lexical expression. In Dolet's view, translation is the translation of meaning, not words. In order to express the author's intention, the translator has the right to adjust and reverse the sentence pattern of the translation.

====2.2 Martin Luther: the Tongue of the Common Man====

Martin Luther (1483-1546) is a German religious reformer and translator in the 16th century. As a translator of the German version of ''The Bible'', he is known as the father of German language and literature. His discussion on translation is mainly recorded in ''The Circular Letter''(1530).

For hundreds of years, people have been used to going to church to listen to ''The Bible'', because under the control of Catholicism, ordinary people have no right to read it by themselves. Luther's translation of the obscure Latin ''Bible'' into contemporary popular German is a great revolution, which is as valuable as his religious revolution. When he translated the language of God into contemporary German, he hoped that the German version of the book would be converted into different dialects, put in people's hands and enter into everyone's heart. Once ''The Bible'' translated by Luther was published, ordinary people directly heard the call of God. Luther believed that the German version he translated must be clear and easy to understand. Therefore, he systematically formulated the translation principles. This popular and fluent translation method aimed to be free from the influence of previous established translations, because free translation was also a weapon for Luther to resist the church. His main translation principles are:

(1) The purpose and the original text that the reader cannot understand should be translated freely.

(2) When translating, we should give priority to the meaning and subject content of the text, and don't stick to the grammar of the original text.

(3) Try to use a language that is easy to understand by ordinary people.

(4) Metaphors and idioms in rhetoric can be translated into non figurative language.

(5) Adhere to the reader centered orientation.

In the use of the target language, Luther did not sanctify the target language, but broke the symbol system of it. Sometimes in order to inject vitality, Luther used the people's oral language to break the coherence of the target language and pay attention to people's personal understanding and personality, which undoubtedly strengthened the social communication of the translation. However, the fluency of the translation was not at the expense of the accuracy. Luther's Bible was also very accurate in information transmission. Because the language used by Luther in translating ''The Bible'' was a vivid language loved by the people, his translation was welcomed by the people, and has been spread for a long time. Luther's basic translation principle was “You must ask the mother at home，the children in the street, the ordinary man in the market and look at their mouth, how they speak,and translate that way; then they'll understand and see that you’re speaking to them in German.“ So, easy to understand was the most fundamental purpose of Luther's translation. (Munday, Jeremy 2001: 38.)

====2.3 William Tyndale: A Men Who Has Dedicated His Life to Translation====

During the Renaissance, the Englishman who died for translation is William Tyndale (1494 - 1536). He is the most influential Bible translator in the English language. The three most famous Bibles ——''Geneva Bible'', ''The Douay-Rheims Bible'' and ''The King James' Bible'' in the 16th and 17th centuries are all influenced by the translation of ''Tyndale Bible'', especially ''The King James' Bible''.

Tyndale was born in Gloucestershire, England. He studied at Oxford University in his early years and taught at Cambridge University after graduation. Cambridge's humanistic thought shaped his religious thought. He believed that since religious teachings and practices come from ''The Bible'', it is necessary for British people to read it in their own mother tongue. Inspired by Martin Luther's experience in translating the German version of it, Tyndale was determined to translate an English Bible. At that time, the British Conservatives led by Moore insisted that the law stipulated that the unauthorized translation of ''The Bible'' was punishable by death. Because Tyndale was persecuted by the British church, he had to flee to Germany, where religion was relatively free, to work as a translator. As a humanist, Tyndale exposed the hypocrisy of European religion. The church accused him of "weaving love and vain history and fables to poison young people". In 1536, Tyndale was arrested and burned. All in all, Tyndale's translated works were concise and simple, using popular English words and expressions, which pioneered the generation of English translation of ''The Bible''.

What the enumerated translators have in common is that in order to spread knowledge and distinguish truth, they bravely explore the road that predecessors have not gone through, and can devote their whole life to the sacred cause of translation. At the same time, it can also be said that their translation experience and principles are written with blood and life.

===3. The Incarnation of Muse: Poetics of Translation===
Muse (Μουσαι in Greek, muses in Latin) is the general name of the goddess of science and art in ancient Greek mythology. It was born of the god Zeus and Mnemosyne, the goddess of memory. The number of Muses is uncertain, some people say there are three goddesses and others nine goddesses. Since the Renaissance, European poets, like stars, have lit the sky over Europe. These poets not only make poetry, but also translate classical poetry, seek inspiration from traditional literature and summarize poetry translation theory. This spectacle is unprecedented.

Western classical translation focuses on the works of ancient Greek and Roman poets Homer, Virgil and Ovid. These translations have greatly improved the form and content of European countries, especially British poetry art, and brought new creative techniques and skills. For example, the introduction of English poetry should first be attributed to the translation of sonnets. The original form of fourteen line lyric poem originated from Italy is abbaabba, cdecde (the last six lines can also be cdcdcd). This poetic style has been translated and introduced by Surrey, and then improved by Spencer and Shakespeare to become the English sonnet (abab eded efef gg).

Muse, the goddess of literature and art in the west, is fond of English poets. The translation works of Chapman, Dryden, Pope, Shelley and other poets fully reflect the principle of "translating poetry in the poetic way". Their poetry translation practice and theory have been perfectly combined to form a unique literary translation theory.
====3.1 George Chapman: Decorate the Translation with Beautiful Words====
George Chapman (1559-1634) is an English poet, dramatist and translator. Chapman is famous for translating Homer's ''Iliad'' and ''Odyssey''. His translation inspires the British poet John Keats more than a century later (1815), so he writes ''On First looking into Chapman's Homer'', which becomes a masterpiece through the ages.

He worshipped the warrior hero of the Agamemnon family in Greek mythology all his life, which can be seen in his works. This is one of the reasons why he chose to translate Homer's works. In 1611, he completed the translation of the ''Iliad'' in sonnets. In 1616, he finished translating the ''Odyssey'' in the poetic style of heroic antithesis. His translation has become one of the most popular works in the history of English literature and played a connecting role in the history of literature. For 200 years after its publication, its translation has been the standard English translation of Homer's works. Chapman's theory of translation criticism can be seen from his translation of the preface written in the ''Iliad'':

That those translators stick in, that affect

Their word-for word traditions( where they lost )

The free grace of their natural dialect,

And shame their authors with a forced gloss)

More license from the words than may express

Their full compression, and make clear the author;

From whose truth, if you think my feet digress,

Because I use needful paraphrases...

( Extract from The Preface to the Reader of the Translation of ''Iliad'')

From Chapman' s translation practice and theory, there are several principles worth summarizing: (1) adhere to translating poetry in poetic way. (2) oppose word for word translation and focus on free translation. (3) adopt the "interpretation" method, advocate that the translation should be decorated. (4) translator should try to show the author's intention. Chapman pays equal attention to translation practice and theory. On the one hand, he pays attention to summarizing translation experience, on the other hand, he has clear principles as translation guidance. At the same time, the deep study of Homer's works and the poetic flavor of poetry are also the reasons for his success. Now let's take a look at a passage in his translation of the ''Iliad'':

All grave old man, and soldiers they had been, but for age

Now left the wars; yet Counselors they were exceeding sage

And as in well grown woods, on trees, cold spinier grasshoppers

Sit chirping and send voices out that scarce can piece our ears

For softness and their weaker faint sounds; so( talking on the tower )

These Seniors of the people sat, who, when they saw the power

Of beauty in the Queen ascend, even those cold-spirited peers,

Those wise and almost withered men, found this heat in their years

That they were forced( though whispering )to say: what men can blame.

The Greeks and Trojans to endure, for so admired a Dame,

So many miseries, and so long? (''Iliad'', iii, 159-169)

Chapman’ s translation was concrete and vivid, with abundant emotion. His rhythm was infectious. However, the addition method of Chapman was often criticized. For example, Homer asked Hector to say, "For well I know this in my mind and in my heart, the day will be, when scaled Troy shall perish." Chapman' s poem is:

And such a stormy day shall come，in mind and soul I know，

When scared Troy shall shed her towers, for tears of overthrow. (Wang Zuoliang, He Qishen 1994: 85)

The translation is rhyming, antithetical and neat, but "mind and soul", "storm", "towers" and "teams" are added. Optimistically,the translator has rich imagination. Negatively, the translator's fantasy destroys faithfulness. In any case, Chapman' s translation style is magnificent and beautiful, reflecting the gorgeous rhetoric of the Renaissance translation and the translator's deep literary foundation. No wonder Keats felt like "seeing a new star surge into the horizon" . Homer's style is fresh, simple, clear, direct, vivid and powerful. Chapman strives to reproduce Homer's epic features in diction, sentence making and style. He has practiced poetry translation and summed up translation theory. This was rare in England from the 16th to 17th centuries: "the task of a competent and valuable translator is to abide by the sentences, rhetoric and language forms used by his original author, abide by his true meaning and depth, and then decorate them with rhetoric and language forms suitable for the language of the translation itself." (Wang Zuoliang, He Qishen 1994: 82)

Nevertheless, because Chapman translated Homer's epic in sonnets and tried to create something in phonology, the sonnets still did not conform to the style of Homer's epic, but they made some progress compared with Milton's translation with blank poems. Chapman also translated Ovid' s ''Feast of Sound and Color'' . His free translation method can fully reflect the deep meaning of the original work and was the best way to translate Homer's poetry. Chapman regarded the translation of Homer's epic as a major event in his life and believed that he was born to translate Homer's epic. His poetry translation theory filled the gap of translation theory in the late 16th century and has been inherited and developed by poetry translators from the 17th to 18th centuries.

====3.2 John Denham: Fluent Poetry Translation====

John Denham (1615 - 1669) is the most famous poet and translator in England in the mid-17th century. When he was young, he went to Oxford to study law, but he never worked as a attorney. He becomes famous because he translated the epic ''Aeneas'' written by Virgil, an ancient Greek tragedy. Later, his poetry also makes him famous in the literary world. (Nida, Eugene 1964: 145)

Denham' s translation theory is mainly reflected in his two articles on translation. One is ''To Sir Richard Fanshawe upon his translation of pastor Fido'' (1648), and the other is The preface of his translation of Aeneas, ''The Destruction of Troy'' (1656) He believes that art expresses nature in a harmonious and elegant way, so the translator should go beyond the constraints of form and create a novel translation. The translation of literary works is different from the translation of religious and disciplinary works, the former can be less faithful, and the translation of ''Aeneas'' adopts the method of translating poetry in the poetic way, pays attention to the legal effect of poetry, and has achieved good results.

Specifically, Denham' s translation theories include:

(1) Denham follows a "neoclassicism" path ". The translation method pursues a new translation method, that is, the translator should innovate, especially in the charm of poetry. Translation should give full play to the advantages of the target language. This process of using the target language to accultrate the original text is also the domestication translation method. This innovative translation method is deeply influenced by the free translation method advocated by France in the 17th century, that is, the translation should be beautiful. Although Denham pursues the elegance and beauty of his translation, his translation is basically faithful. His free translation mainly focuses on the artistic conception or "poetry for poetry", rather than the translated vocabulary.

(2) Denham believes that the translator and the author enjoy the same status. As a poet and translator, he believes that the translator has the right to extract the core part from the original text and recreate it in the target language. If there is a key word in Denham's translation theory, it is "fluency", as if the translation is not like the translation, but more like creation. In this way, the sentence pattern of the original text can be rewritten, the unclear meaning can be clarified, the smooth poetic rhythm and form can be used, the irregular structure can be avoided, and the pause can be used to strengthen the coherence of poetic sentence patterns. Denham' s fluent translation makes people feel that reading his translation is not reading the translation, but reading the original English work. Therefore, he is known as "Virgil" in Britain.

(3) The translator has his own choice and motivation. Denham chooses the free translation method and the translation of ''Aeneas'' has its own purpose: the relationship between the king and his descendants in the Trojan story will remind the reader of Britain at that time. He hopes to give cultural support to the English monarch through the translation of such a work. There is an imaginary connection between Troy's pedigree and the defeated Caroline government at that time. This kind of ideological manipulation and rewriting confirms his translation It serves the royalists. Therefore, his translation is very flexible and has more freedom than other translators.

====3.3 John Dryden: Three Principles of Translation====

John Dryden (1631 - 1700), an English poet, translator and dramatist, is the most influential critic in Britain in the 17th century. His literary criticism has influenced the following two centuries. As a translation theorist, his discourse on translation is considered to be the most systematic in western translation theory before the 17th century.

The three translation types (1680) divided by Dryden and the three translation principles (1797) of Tytler all advocated to talk about translation in civilian rather than pretentious academic language, which is why their translation theory is still used today. As the "the first translation theorist" so far, Dryden' s translation views were mainly reflected in the translation of the ''Preface to Ovid' s Epistles''. Dryden classified three types of translation as follows:

All translations,I suppose, may be reduced to these three heads.

(1)First, that of metaphrase，or turning an author word by word, and line by line, from one language into another. Thus, or near this manner, was Horace his ''Art of Poetry'' translated by Ben Jonson.

(2)The second way is paraphrase, or translation with latitude, where the author is kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that is admitted to be amplified, but not altered. Such is Mr. Walter' s translation of Virgil's fourth ''Aeneid''.

(3)The third way is that of imitation, where the translator( if now he has not lost that name) assumes the liberty, not only to vary from the words and sense, but to forsake them both as he sees occasion; and taking some hints from the original, to run division on the groundwork, as he pleases. Such is Mr. Cowley' s practice in turning two Odes of Pindar, and one of Horace, into English.

Among the three translation methods, Dryden is most opposed to Ben Jonson' s word for word translation, that is, literal translation. It is considered that this translation method is like "tis much like dancing on ropes with fed legs", which mechanically imitates the original text, but can not be separated from the constraints of its grammar, sentence pattern and poetic rhythm, so that its semantics is obscure. As for the great freedom of imitation translation, the purpose of the translator is to imitate the previous works in subject content and literary form, neither translated words nor translated meaning. Therefore, literal translation and imitation translation are the two most extreme forms of translation, and translators should take warning. Free translation is the translation method advocated by Dryden. The so-called free translation means that the translator must have a limit of freedom. He should always see the author and not lose his way. From this point of view, Dryden insists that poetry translation must "translate poetry with poetry", that is, the person who translates poetry must be a poet, so that he can understand the charm of the original and better express it in the target language and aesthetic language.

The three classifications of Dryden' s translation have a great influence on the western translation theory in the 20th century. They are an indispensable part of western translation theory. His translation theory represents the peak of the development of English and criticism theory in the 17th century.

====3.4 Alexander Pope: Translation of Homer Epic====

Alexander Pope (1688-1744) is an important poet and translator in the Enlightenment period of the 18th century. His ''An Essay on Criticism'' (744 lines) is written in antithetical verses, expounding the aesthetic principles of classical literature and art, and establishes Pope's position in the history of English literature. Pope became famous for translating Homer's epics and won a reward of 10000 pounds and a great reputation.

Pope's translation of Homer's epic is accused by translation critics of not rhyming and reading like an 18th century Englishman. In other words, Pope's translation of Homer's epic is not so much a reflection of Homer's style as Pope's own style. His translation is full of personal characteristics and idioms. But when discussing translation, Pope said that his translation is better than those full of translation cavity. His main translation views are recorded in the translation preface of the ''Iliad''. Pope's translation theory is very similar to Dryden' s: (1) he advocates free translation and maintains the beauty of poetry translation. (2) it is the sacred mission of the translator not to add or delete arbitrarily in translation. (3) the relationship between literal translation and free translation is dialectical. Literal translation can not reproduce the beautiful meaning of the original text, but it is wrong to make up for it by hasty free translation. (4) servile loyalty to the literal meaning will only damage the poetic style of the original text. (5) the plain and clear style of Homer's epic in modern language is not a lesson. Translation should reflect the main characteristics of the original: when talking about the beauty and defects of the original, we should talk about the translation, which is the embodiment of the main characteristics of it. As long as the main parts of the original poem show the contents such as fables, etiquette and emotion, no translator will save and compress them out of his own prejudice. The same is true for the translation of every image, description and simile. If we save too much translation, it will weaken the main characteristics of the original poem.

In Pope's view, the translator should not only grasp the characteristics of the original text, but also deal with the idioms and metaphors in Homer's epic, strive to reproduce the image of the original text, and can not be arbitrarily deleted due to personal prejudice. The beautiful and noble poetic features of the original text should also be reproduced in the translation. Pope is often criticized for some affectation and arbitrary play. The accusation of the former may be related to Pope's neoclassicism. Arbitrary play is a major feature of some humanist translators.

Generally speaking, Pope adopts the domestication translation method to explain, understand and translate the original work with the poetic concepts of the Enlightenment period, in order to maintain a smooth and natural poetic flavor in the target language. Compared with the other two translators of Homer's epics Chapman and R. lattinmore, Pope's translation is generally very neat and elegant, reproducing the style of neoclassicism. Chapman' s translation is beautiful, while the translation of R. lattinmore, a translator in the 20th century, is fresh and casual. In general, Pope's translation of Homer's epic is neat and reproduces Homer's poetic flavor, charm to a certain extent.

===4. The National and World Visions of Translation===

The 17th century to the 19th century is the climax of the development of modern western translation theory. A large number of writers and translators with world reputation have sprung up in Britain, France and Germany. Generally speaking, the free translation school originated in France in the 17th century and had a great influence on Britain. There were many innovations in translation theory in Britain from the 17th to the 18th century. The discussion at this stage mainly focused on the translation of classical poetry. In Germany, with the emergence of “Stum and Drang, Storm and Stress” and Romanticism in the 18th and 19th centuries, German Conservatism has showed up.

The 19th century, represented by the "Stum and Drang, Storm and Stress", is a period of great development of German Conservatism, represented by the "German Romanticism", which is also a stage of the transition of literary and artistic forms from classicism to Romanticism, which can also be said to be the romanticism in the naive period. The central representatives of this movement are the famous writers Goethe and Schiller. Goethe's ''The Troubles of Young Witt'' is the representative work of this period, expressing the conflict of human inner feelings and the spirit of striving. This movement lasted for nearly 30 years, from 1765 to 1795, and then was replaced by the mature romantic movement. A large number of linguists, writers and translation theorists such as Herder, Goethe, Humboldt, Schleiermacher, Holderlin and Schlegel came on stage one after another. They translated a considerable number of classical works of ancient Greece and Rome, also translated and introduced a large number of works of other European countries (such as the translation of Shakespeare's plays). German literature in this period has won a great reputation all over the world. Due to the participation of the above-mentioned literature, German translation activities and translation research have also reached an unprecedented zenith, which has laid a solid foundation for western translation theory in the 20th century.

====4.1 Language Shapes the National Identity: Johann Gottfried Herder and Wilhelm von Humboldt====

The humanistic thoughts sweeping the whole Europe, such as humanism, classicism, enlightenment, “Stum and Drang, Storm and Stress” and romanticism, make the relationship between European countries closer and closer. These movements provide important conditions and environment for the birth of translation theory. Herder and Humboldt demonstrated the relationship between language, translation and national identity from the perspective of language.

Johann Gottfried Herder (1744 - 1803) is a pioneer of the German rapid movement. As a forerunner of the enlightenment movement, Herder always focuses on how to use translation to transform German literature. In his opinion, the growth of German national literature is inseparable from translation. His views on translation are scattered on the origin of language, on the more recent German literature and other works. These views on language and translation have a great impact on language education and translation circles. From the perspective of language, he believes that speech is invented by man, and language represents rationality: "Without language, man has no reason and without reason no language." Herder's view of language nature opposes taking language as a simple tool and medium. He believes that language is a national organism, which can best reflect the national spirit and national soul (Volksgeist) , is the bond that forms the nation-state. Whoever loses his own language loses his identity and patriotism. Germans should be proud of their language and nation. Herder and Humboldt put forward that language determines thinking, which not only provides a basis for the self hypothesis theory two centuries later, but also gives a view of the uncertainty and untranslatability of translation buried the foreshadowing. (Rousseau, Jean Jacques and John Gottfried Herder 1986: 121)

Herder opposes the deification of language and insists on explaining the generation of language from the perspective of naturalism. He believes that rationality is the key to the origin of language. He tries to provide a natural rather than reductionist explanation for human characteristics and creativity, and seeks the origin of language in human natural characteristics. Herder's natural reductionism is not only used to explain the origin of language, but also the power of natural interpretation is extended to all fields of culture to reflect the characteristics of human creation, such as art, religion, law, etc. Through the power of natural interpretation, they are included in a scientific world outlook. This language turning point fundamental. Its significance is that people begin to pay real attention to the problems of language itself, such as the essence of language, the relationship between language and rationality, how language can be expressed, etc. Then Humboldt inherited and developed Herder's view. Language blindness is no longer just a vassal of rationality, a simple tool. From then on, he began to get out of the influence of theology and gradually formed an independent philosophy of language.

Herder's views had a great impact on Humboldt.

Wilhelm von Humboldt (1767-1835) is the most influential linguist, philosopher and educational reformer in the West.

Humboldt's main translation views are:

(1) Language determines thought and culture. A language is the reflection of real life. Language has unique national characteristics, and the languages of different nationalities reflect their cultural characteristics. Different languages reflect the world outlook of different nationalities. It emphasizes the reaction of language to thinking: language determines thought and mode of thinking, and different languages have different schemata to understand the world. Translation consists of different languages and forms different language schemata. Therefore, equivalence in translation is impossible.

(2) The more you know a language, the greater the distance between nations. This is because different nations have different world views and different language habits. From this point of view, because we are aware of the great differences between different languages, we believe that it is impossible to achieve complete equivalence. Therefore, mutual translation between languages is impossible.

(3) Translation should deeply understand the era, atmosphere and character of the original author, and strive to avoid the obscure side of the translation and ensure the readability of the translation.

(4) The phonological beauty of poetry and drama translation must be maintained. Meter pattern is the key to all beauty.

Humboldt' s contribution to translation theory is that he is aware of the tension and contradiction of translation. He does not recognize the existence of a universal conceptual system beyond language boundaries. Therefore, his view of translation was interpreted as the representative of untranslatability in the 20th century. Because there are two meanings of "ubersetzen" and "dolmesschen" in German translation, "understanding" always carries "pre-understanding", that is, with personal subjective vision or prejudice, it is impossible to completely reach a consensus between different individuals. "Dolmesschen" let us have the opportunity to enter the commonness of language, which enables translation to cross specific social and cultural factors, and it is possible to understand each other between languages, so there is a reason to seek equivalence in translation. This is Humboldt' s dualism of language and translation.

====4.2 The Soaring Literary Translation: Johann Wolfgang Goethe and Friedrich Holdern====

Johann Wolfgang Goethe (1749-1832) is the greatest poet, translator and outstanding representative of Romanticism in Germany.

To sum up, Goethe believes that translation can be divided into three types.

(1) Facing different types of readers, we need different types of translation. In poetry and truth, he said, "if you want to influence the masses, a simple translation is always the best. Critical translations vying with the original really are of use only for conversations the learned conduct among themselves."(Lefevere, Andrew 1992: 75)

(2) Adaptation or imitation translation. "The second stage is that the translator translates contentedly according to his own wishes. Even if the translator tries to integrate himself into foreign situations, I would rather call this stage imitation stage."(Lefevere, Andrew 1992: 75)

(3) Pay attention to rhythmic literal translation sentence by sentence. Homer's ''Odyssey'' and ''Iliad'' translated by German Translator J. h. Voss made him famous overnight. His translation has beautiful rhythm and intonation and accurate choice of words and sentences. Although the public could not accept the strict literal translation rhythm at first, it gradually recognized it later. Goethe emphasizes that public taste can be shaped through translation.

Among all these three types of translation, Goethe most appreciates the literal translation that pays attention to rhythm, because as a poet, he takes into account the poetic characteristics such as meter pattern and rhythm, which are the true qualities of the original author. Goethe mentioned two principles of Translation: first, foreign writers move closer to the target language, so that his works look the same as the target language writers; Second, readers cross the border to adapt to foreign customs and language characteristics.

Goethe's translation theory is based on his romantic aesthetics. He believes that literal translation can not only convey the information of the original text, but also express the beauty of the translation.

Friedrich Holderlin (1770-1843) is the greatest lyric poet in the German Romantic period.

Holderlin advocates that every language of human beings is derived from the same basic language form, that is, what Benjamin called "pure language". Not only translation, but also creation should return to this ancient source. In translation practice, translators should adhere to literal translation, reflecting the heterogeneity of the original text. In modern poetics and translation studies, Holderlin' s language ontology is mainly based on the view of looking for "words beyond speech". This literal translation brings, of course, lexical obscurity, and Holderlin believes that the more obscure the translation, the more enlightening the tension. This poetic dialectics undoubtedly has a mystical point of view. It is very interesting that in the 20th century, people talked most about the essence of translation. The main point of view related to the essence of translation comes from Holderlin, a "firm guardian of letters" of the literal translation school. He created endless topics for translation. To some extent, Holderlin is the prophet of contemporary translation theory.

===5. Conclusion===

To sum up, as an important stage in the development of Western culture, humanistic trend cannot show up without the practice of cultural translation. As a part of the social thought at that time, translation thought is related to the social and cultural context in that period. Like other social trends at that time, translation thoughts in the period of the Renaissance and the Religious Reformation have played an important role in the evolution of the history of western translation, both returning to the original period and moving towards the new era. Humanistic trend is a turning point in the history of western translation. In short, the emergence of humanistic trend on the historical stage indicates that translation practice and theory have broken away from the "dark" Middle Ages and makes a huge step forward".

===References===

Bassnett, Susan. (1980) Translation Studies. London and New York: Methuen.

Lefevere, Andrew. eds. (1992) Translation/History/Culture: A Source Book. London : Routledge.

Munday, Jeremy. (2001) Introducing Translation Studies : Theories and Applications. London/New York : Routledge.

Nida, Eugene. (1964) Toward A Science of Translating. Leiden: E. J. Brill.

Robinson, Douglas. (1997) Western Translation Theory : from Herodotus to Nietzsche. Manchester : St. Jerome Publishing.

Rousseau, Jean Jacques and John Gottfried Herder. (1986) On the Oringin of Language. Chicago : The University of Chicago Press.

Tan Zaixi tan 谭载喜(2004). 西方翻译简史 A Brief History of Western Translation. 北京：商务印书馆 Beijing: The Commercial Press.

Wang Zuoliang, He Qishen 王佐良、何其莘(1996). 英国文艺复兴时期文学史 A History of English Renaissance Literature. 北京：外语教学与研究出版社 Beijing: foreign Language Teaching and Research Press.

Wang Zuoliang, He Qishen 王佐良，何其莘(1994). 英国文艺复兴时期的文学史 A History of English Renaissance Literature 北京：外语教学与研究出版社 Beijing: foreign Language Teaching and Research Press.

Xie Tianzhen 谢天振(2014). 中西翻译简史 A Brief History of Chinese and Western Translation. 北京：外语教学与研究出版社 Beijing: foreign Language Teaching and Research Press.

Yao Xiaoping 姚小平(1998). 赫尔德论语言的起源译本 The Translation of Herder' s Treatise on the Origin of Language 北京：商务印书馆 Beijing: The Commercial Press.

Written by --[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 08:38, 9 December 2021 (UTC)

Hist Trans Theo EN 12

2021-12-30T07:11:34Z

Wei Zhaoyan: /* Abstract */

'''History of Translation Theories'''

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=12 魏兆妍 The Humanistic Trend in Western Translation Theory from the 14th to the 19th Century=
[[Hist_Trans_Theo_EN_12]]

'''The Humanistic Trend in Western Translation Theory from the 14th to the 19th Century'''

'''14世纪至19世纪西方翻译理论中的人文主义思潮'''

Wei Zhaoyan 魏兆妍 Hunan Normal University, China 202120081528

===Abstract===
From the 14th century, Europe began to enter into the Renaissance, and the Christian world view gradually degenerated with the emergence of individual centered humanism. With the invention of printing in the 15th century, reading translated works from different countries was no longer a noble enjoyment. Translation was called the forerunner of the Renaissance. In Europe, the writers, thinkers and scholars in this period were also translators who knew several languages, and we can see that translation and creation were closely linked. This paper will focus on the humanistic trend in western translation theory from the 14th to the 19th century, and will also enumerate the representative figures and their translation ideas in this period.

===Key words===
Humanistic trend, Western translation theory, Poetics of translation, National and world visions

===摘要===
从14世纪开始，欧洲进入了文艺复兴时期，基督教世界观随着以个人为中心的人文主义的出现而逐渐退化。顺从上帝的人被视为理性而独特的个体，他们强调自己的创造潜力，充分发挥自己的才能。随着15世纪印刷术的发明，教育和学校开始向公众开放。阅读不同国家的翻译作品不再是一种高尚的享受。文字和信息通过翻译向四面八方传播，而且速度更快。翻译被称为文艺复兴的先驱。可以说，没有翻译，就没有欧洲文艺复兴和人文思想。在欧洲，这一时期的作家、思想家和学者也是通晓多种语言的翻译家，可见翻译与创作是紧密相连的。本文将着重探讨14世纪至19世纪西方翻译理论中的人文主义思潮，并列举这一时期的代表性人物及其翻译思想。

===关键词===
人文主义思潮；西方翻译理论；翻译诗学；民族与世界视野

===1. Introduction===

From the 14th century, Europe began to enter into the Renaissance. Dante, the last poet in the middle ages, completed ''The Divine Comedy'' in 1321. In Dante's mind, all human life experience, including life and death, must be explained by Christian faith in order to show its meaning and significance. This Christian worldview gradually degenerated with the emergence of individualism-centered humanism. All beings who submitted to God were regarded as rational, unique and creative individuals. In the past years, translators were servants attached to God. Now they have shifted from God to focusing on the translator. Personal development has become the goal and value of life. Although humanist thinkers, writers and translators still maintain the Christian faith, they put more emphasis on personal creative potential and give full play to people's strengths. The focus of translation activities in this period also shifted from the classics of the Christian Church to the translation of more secular humanistic works.

With the invention of printing in the 15th century, education and schools began to be open to the public. Reading translated works from different countries was no longer a noble enjoyment. Through the wings of translation, words and information were transmitted in all directions and more quickly. For example, Marco Polo (1254-1324) told the story of his travels in China, which spread all over the European continent through printed words. The invention of printing not only brought about a cultural revolution, but also a sharp increase in the number of translations. Translation is known as the forerunner of the Renaissance. It can be said that without translation, there would be no European Renaissance and humanistic thought. Take the role of translation in English literature for example: "Translation played a great role in the British Renaissance: first, as a pioneer, it was countless translated works that first caused the mental climate of humanism. Second, translation was still active in the era of the restoration of the king's government, but attention has turned to French works. In the intervening years, that is, in the half century from 1558 to 1603 when Queen Elizabeth was in office, translation activities were more frequent, and famous translations also appeared the most frequently, which constituted a translation climax in the whole history of English literature. " In the Queen Elizabeth era, translation reached an unprecedented prosperity, and good translations of famous works continued to emerge. In the following 17th to 18th centuries, neoclassical literary translation surpassed the previous stage. Translation was particularly important to the development of modern English language, literature and culture. (Wang Zuoliang, He Qishen 1996: 72）

In Europe, the writers, thinkers and scholars in this period were translators who knew several languages, translation and creation were closely linked. A large number of scholars and poets have expressed their opinions on translation. From the 14th to the 16th century, the most representative was Dante's "untranslatability of literature" in Italy (1265-1321); Erasmus of the Netherlands (1466 - 1536) relied on the translator's language knowledge in the translation of ''The Bible''; The translation of German Luther (1482 - 1546) must adopt the language of the people; The translators in Dore’ s mind (1509-1546) in France must understand the original content, be proficient in two languages, avoid word for word translation, adopt popular form and pay attention to the "five translation principles" of beautiful style; Poetry translation in English Chapman' s(1559-1634) mind can not be stiff translation, and the poetry translation method of "rebuilding a new image" can be used.

From the 17th to the 19th century, the representative figures were as follows. Abranco of France: the translation method of “the beautiful unfaithful ones” which emphasized literariness and readability; Bartow (1731-1780) : accurate translation view of "the author is the master and the translator is the servant"; Dryden (1747-1841) of England: three translation principles of "literal translation, free translation and imitation translation"; Tytler (1747-1814): three translation principles of "the translation must completely reproduce the thought of the original work: the style and tone of the translation must be consistent with the characteristics of the original; the translation must be as smooth as the original." ; Humanistic thinker Herder (1744-1830) of German Romanticism: made a pioneering thinking on the language, nationality and the characteristics of relativism in translation. Goethe (1749-1832) of German: called the translator as "the prophet of the people"; Humboldt (1767-1835): expressed the views on translatability and untranslatability which had a great impact on the 20th century. The foreignization translation method of Schleiermacher (1768-1834) in the later stage has influenced the deconstructive translation theory of the 20th century. For the above representative figures and different translation views, this paper will focus on the humanistic trend and enumerate some of the representatives according to the development sequence of the history of western translation theory.

===2. The "Rebels" Who Change the Traditional Concept of Translation===
Since Jerome, the debate between literal and free translation has begun in the west. The dispute between them actually involves the question of whether translation should be equivalent to the original text, that is, faithfulness, which is also a thread running through western translation theory for more than 2000 years. Since the Renaissance, people have become more and more aware of their own subjectivity, but religious influence is everywhere all the time. As a translator, if he has any unconventional translation behavior, he may be persecuted by spirit and body, even lead to death. A history of western translation can be said to be written in the life and blood of translators to a certain extent.

Between 1536 and 1546, three translators died. Two of them were caused by translation work. They were French translation theorist Dolet, religious reformer and translator Martin Luther as well as British translator William Tyndale.
====2.1 Etiene Dolet: Five Principles of Translation====
In the history of western translation theory, the first humanist to systematically expound translation theory was Etiene Dolet(1509-1546). Dolet is a translator, printer and scholar. He is the first translator suffering from translation since the Renaissance. He is a learned, versatile and liberated translator. His interpretation of classics was regarded as walking between orthodoxy and paganism. The European Church has advocated for a long time that the translation of ''The Bible'' should be literal translation, especially the Roman Catholic Church supported the "correct" and conventional translation of ''The Bible'' . Any interpretation and translation that deviated from the classics may be regarded as heresy, criticized and prohibited, and some adventurous interpreters and translators suffered a horrible fate. In 1546, the Theological Seminary of Sorbonne University in France identified that Dolet added the phrase "whereas you will no longer be anything at all" without foundation in the translation of a paragraph about "existence after human death" in Plato's dialogue ''Axiochus'', then he was burned alive at the stake. This paragraph is as follows:

The original text in Greek: Hoti peri men tous zôntas ouk estin, hoi de apothanontes ouk eisin. hôste oute peri se nun estin, ou gar tethnêkas oute ei ti pathois, estai peri se su gar ouk esei.

The French translation by Dolet: Pour ce qu'il est certain que la mort n'est point aux vivants: et quant aux defuncs, ilz ne sont plus: donques la mort les atouches encore moins. Parquoy elle ne peult rien sur toy, car tu n'est pas encores prest à deceder; et quand tu seras décédé, elle n'y pourra rien aussi，attendu que tu ne seras plus ''rien du tou''. (The text in sixteenth century cited by Ballard and Copley Christie)

The translation in English:Since it is certain death is not at all among the living: and as for the dead, they no longer are: therefore, death touches them even less. And hence death can do nothing to you, for you are not yet ready to die, and when you have died, death will also not be able to do anything, since you will no longer be ''anything at all''.

This paragraph by Plato is an obvious atheist view. It is close to the meaning of "how can you know death when you don't know life" (''The Analects of Confucius''). The original Greek version is abstruse and difficult to understand, and there are omissions in many places. It can't be translated without adding cohesive devices. The three words added in italic French and English in the text only play a role in connecting and do not change the meaning of the original text. Dolet's addition was accused of "blasphemy", because such translation was accused of "denying the eternity of the soul", and it was precisely because he "made" this fatal translation "mistake" that he was burned at the age of 37. This accusation was a typical "unnecessary" accusation. As a translator, Dolet only translated the meaning of the original text and did not understand it improperly. The key was that Plato described Aristotle's conversation, Sorbonne's clergy could not blame Plato, so they had to blame Dolet for adding the three French words “rien du tout” (nothing at all) , because these three words could not be found in Greek or Latin, the church accused him of misunderstanding Plato's intention, blaspheming the gods and not believing in eternity. So, the risk of translation arises.

Because Dolet was persecuted by the clergy to death, his "five principles on translation" was cherished by the western translation field. Dolet's "five principles on translation" came from ''The Way of Translating Well from One Language into Another'' (1540) The excerpts of the original text are as follows:

To translate well from one language into another requires in the main five things:

(1)In the first place, the translator must understand perfectly the sense and matter of the author he is translating, although he should feel free to clarifty obscurities.

(2)The translator should have a perfect knowldgwe of boh SL and IL, so as not to lessen the majesty of the language.

(3) The translator should avoid word for word renderings.

(4)The translator should avoid Latinate and unusual forms.

(5)The translator should assemble and liaise words eloquently to avoid clumsiness.(Robinson, Douglas 1997: 95~96)

From the five translation principles put forward by Dolet, he advocated free translation, especially he didn't advocate rigid literal translation and paid attention to the beauty of the translation. Articles 1 and 2 can be regarded as the necessary conditions for translators. The latter three advocate that translators should use fresh language expressions, avoid using rare Greek or Latin words, but use natural and fluent forms in the target language in order to improve the social status and influence of French, Italian, German and Spanish after the disintegration of Latin. These five principles emphasized that the translator cannot follow the master like a slave, being obedient and using word for word translation method which show that the translator is poor in skills and lacks rich lexical expression. In Dolet's view, translation is the translation of meaning, not words. In order to express the author's intention, the translator has the right to adjust and reverse the sentence pattern of the translation.

====2.2 Martin Luther: the Tongue of the Common Man====

Martin Luther (1483-1546) is a German religious reformer and translator in the 16th century. As a translator of the German version of ''The Bible'', he is known as the father of German language and literature. His discussion on translation is mainly recorded in ''The Circular Letter''(1530).

For hundreds of years, people have been used to going to church to listen to ''The Bible'', because under the control of Catholicism, ordinary people have no right to read it by themselves. Luther's translation of the obscure Latin ''Bible'' into contemporary popular German is a great revolution, which is as valuable as his religious revolution. When he translated the language of God into contemporary German, he hoped that the German version of the book would be converted into different dialects, put in people's hands and enter into everyone's heart. Once ''The Bible'' translated by Luther was published, ordinary people directly heard the call of God. Luther believed that the German version he translated must be clear and easy to understand. Therefore, he systematically formulated the translation principles. This popular and fluent translation method aimed to be free from the influence of previous established translations, because free translation was also a weapon for Luther to resist the church. His main translation principles are:

(1) The purpose and the original text that the reader cannot understand should be translated freely.

(2) When translating, we should give priority to the meaning and subject content of the text, and don't stick to the grammar of the original text.

(3) Try to use a language that is easy to understand by ordinary people.

(4) Metaphors and idioms in rhetoric can be translated into non figurative language.

(5) Adhere to the reader centered orientation.

In the use of the target language, Luther did not sanctify the target language, but broke the symbol system of it. Sometimes in order to inject vitality, Luther used the people's oral language to break the coherence of the target language and pay attention to people's personal understanding and personality, which undoubtedly strengthened the social communication of the translation. However, the fluency of the translation was not at the expense of the accuracy. Luther's Bible was also very accurate in information transmission. Because the language used by Luther in translating the Bible was a vivid language loved by the people, his translation was welcomed by the people, and has been spread for a long time. Luther's basic translation principle was “You must ask the mother at home，the children in the street, the ordinary man in the market and look at their mouth, how they speak,and translate that way; then they'll understand and see that you’re speaking to them in German.“ So, easy to understand was the most fundamental purpose of Luther's translation. (Munday, Jeremy 2001: 38.)

====2.3 William Tyndale: A Men Who Has Dedicated His Life to Translation====

During the Renaissance, the Englishman who died for translation is William Tyndale (1494 - 1536). He is the most influential Bible translator in the English language. The three most famous Bibles ——''Geneva Bible'', ''The Douay-Rheims Bible'' and ''The King James' Bible'' in the 16th and 17th centuries are all influenced by the translation of ''Tyndale Bible'', especially ''The King James' Bible''.

Tyndale was born in Gloucestershire, England. He studied at Oxford University in his early years and taught at Cambridge University after graduation. Cambridge's humanistic thought shaped his religious thought. He believed that since religious teachings and practices come from ''The Bible'', it is necessary for British people to read it in their own mother tongue. Inspired by Martin Luther's experience in translating the German version of it, Tyndale was determined to translate an English Bible. At that time, the British Conservatives led by Moore insisted that the law stipulated that the unauthorized translation of ''The Bible'' was punishable by death. Because Tyndale was persecuted by the British church, he had to flee to Germany, where religion was relatively free, to work as a translator. As a humanist, Tyndale exposed the hypocrisy of European religion. The church accused him of "weaving love and vain history and fables to poison young people". In 1536, Tyndale was arrested and burned. All in all, Tyndale's translated works were concise and simple, using popular English words and expressions, which pioneered the generation of English translation of ''The Bible''.

What the enumerated translators have in common is that in order to spread knowledge and distinguish truth, they bravely explore the road that predecessors have not gone through, and can devote their whole life to the sacred cause of translation. At the same time, it can also be said that their translation experience and principles are written with blood and life.

===3. The Incarnation of Muse: Poetics of Translation===
Muse (Μουσαι in Greek, muses in Latin) is the general name of the goddess of science and art in ancient Greek mythology. It was born of the god Zeus and Mnemosyne, the goddess of memory. The number of Muses is uncertain, some people say there are three goddesses and others nine goddesses. Since the Renaissance, European poets, like stars, have lit the sky over Europe. These poets not only make poetry, but also translate classical poetry, seek inspiration from traditional literature and summarize poetry translation theory. This spectacle is unprecedented.

Western classical translation focuses on the works of ancient Greek and Roman poets Homer, Virgil and Ovid. These translations have greatly improved the form and content of European countries, especially British poetry art, and brought new creative techniques and skills. For example, the introduction of English poetry should first be attributed to the translation of sonnets. The original form of fourteen line lyric poem originated from Italy is abbaabba, cdecde (the last six lines can also be cdcdcd). This poetic style has been translated and introduced by Surrey, and then improved by Spencer and Shakespeare to become the English sonnet (abab eded efef gg).

Muse, the goddess of literature and art in the west, is fond of English poets. The translation works of Chapman, Dryden, Pope, Shelley and other poets fully reflect the principle of "translating poetry in the poetic way". Their poetry translation practice and theory have been perfectly combined to form a unique literary translation theory.
====3.1 George Chapman: Decorate the Translation with Beautiful Words====
George Chapman (1559-1634) is an English poet, dramatist and translator. Chapman is famous for translating Homer's ''Iliad'' and ''Odyssey''. His translation inspires the British poet John Keats more than a century later (1815), so he writes ''On First looking into Chapman's Homer'', which becomes a masterpiece through the ages.

He worshipped the warrior hero of the Agamemnon family in Greek mythology all his life, which can be seen in his works. This is one of the reasons why he chose to translate Homer's works. In 1611, he completed the translation of the ''Iliad'' in sonnets. In 1616, he finished translating the ''Odyssey'' in the poetic style of heroic antithesis. His translation has become one of the most popular works in the history of English literature and played a connecting role in the history of literature. For 200 years after its publication, its translation has been the standard English translation of Homer's works. Chapman's theory of translation criticism can be seen from his translation of the preface written in the ''Iliad'':

That those translators stick in, that affect

Their word-for word traditions( where they lost )

The free grace of their natural dialect,

And shame their authors with a forced gloss)

More license from the words than may express

Their full compression, and make clear the author;

From whose truth, if you think my feet digress,

Because I use needful paraphrases...

( Extract from The Preface to the Reader of the Translation of ''Iliad'')

From Chapman' s translation practice and theory, there are several principles worth summarizing: (1) adhere to translating poetry in poetic way. (2) oppose word for word translation and focus on free translation. (3) adopt the "interpretation" method, advocate that the translation should be decorated. (4) translator should try to show the author's intention. Chapman pays equal attention to translation practice and theory. On the one hand, he pays attention to summarizing translation experience, on the other hand, he has clear principles as translation guidance. At the same time, the deep study of Homer's works and the poetic flavor of poetry are also the reasons for his success. Now let's take a look at a passage in his translation of the ''Iliad'':

All grave old man, and soldiers they had been, but for age

Now left the wars; yet Counselors they were exceeding sage

And as in well grown woods, on trees, cold spinier grasshoppers

Sit chirping and send voices out that scarce can piece our ears

For softness and their weaker faint sounds; so( talking on the tower )

These Seniors of the people sat, who, when they saw the power

Of beauty in the Queen ascend, even those cold-spirited peers,

Those wise and almost withered men, found this heat in their years

That they were forced( though whispering )to say: what men can blame.

The Greeks and Trojans to endure, for so admired a Dame,

So many miseries, and so long? (''Iliad'', iii, 159-169)

Chapman’ s translation was concrete and vivid, with abundant emotion. His rhythm was infectious. However, the addition method of Chapman was often criticized. For example, Homer asked Hector to say, "For well I know this in my mind and in my heart, the day will be, when scaled Troy shall perish." Chapman' s poem is:

And such a stormy day shall come，in mind and soul I know，

When scared Troy shall shed her towers, for tears of overthrow. (Wang Zuoliang, He Qishen 1994: 85)

The translation is rhyming, antithetical and neat, but "mind and soul", "storm", "towers" and "teams" are added. Optimistically,the translator has rich imagination. Negatively, the translator's fantasy destroys faithfulness. In any case, Chapman' s translation style is magnificent and beautiful, reflecting the gorgeous rhetoric of the Renaissance translation and the translator's deep literary foundation. No wonder Keats felt like "seeing a new star surge into the horizon" . Homer's style is fresh, simple, clear, direct, vivid and powerful. Chapman strives to reproduce Homer's epic features in diction, sentence making and style. He has practiced poetry translation and summed up translation theory. This was rare in England from the 16th to 17th centuries: "the task of a competent and valuable translator is to abide by the sentences, rhetoric and language forms used by his original author, abide by his true meaning and depth, and then decorate them with rhetoric and language forms suitable for the language of the translation itself." (Wang Zuoliang, He Qishen 1994: 82)

Nevertheless, because Chapman translated Homer's epic in sonnets and tried to create something in phonology, the sonnets still did not conform to the style of Homer's epic, but they made some progress compared with Milton's translation with blank poems. Chapman also translated Ovid' s ''Feast of Sound and Color'' . His free translation method can fully reflect the deep meaning of the original work and was the best way to translate Homer's poetry. Chapman regarded the translation of Homer's epic as a major event in his life and believed that he was born to translate Homer's epic. His poetry translation theory filled the gap of translation theory in the late 16th century and has been inherited and developed by poetry translators from the 17th to 18th centuries.

====3.2 John Denham: Fluent Poetry Translation====

John Denham (1615 - 1669) is the most famous poet and translator in England in the mid-17th century. When he was young, he went to Oxford to study law, but he never worked as a attorney. He becomes famous because he translated the epic ''Aeneas'' written by Virgil, an ancient Greek tragedy. Later, his poetry also makes him famous in the literary world. (Nida, Eugene 1964: 145)

Denham' s translation theory is mainly reflected in his two articles on translation. One is ''To Sir Richard Fanshawe upon his translation of pastor Fido'' (1648), and the other is The preface of his translation of Aeneas, ''The Destruction of Troy'' (1656) He believes that art expresses nature in a harmonious and elegant way, so the translator should go beyond the constraints of form and create a novel translation. The translation of literary works is different from the translation of religious and disciplinary works, the former can be less faithful, and the translation of ''Aeneas'' adopts the method of translating poetry in the poetic way, pays attention to the legal effect of poetry, and has achieved good results.

Specifically, Denham' s translation theories include:

(1) Denham follows a "neoclassicism" path ". The translation method pursues a new translation method, that is, the translator should innovate, especially in the charm of poetry. Translation should give full play to the advantages of the target language. This process of using the target language to accultrate the original text is also the domestication translation method. This innovative translation method is deeply influenced by the free translation method advocated by France in the 17th century, that is, the translation should be beautiful. Although Denham pursues the elegance and beauty of his translation, his translation is basically faithful. His free translation mainly focuses on the artistic conception or "poetry for poetry", rather than the translated vocabulary.

(2) Denham believes that the translator and the author enjoy the same status. As a poet and translator, he believes that the translator has the right to extract the core part from the original text and recreate it in the target language. If there is a key word in Denham's translation theory, it is "fluency", as if the translation is not like the translation, but more like creation. In this way, the sentence pattern of the original text can be rewritten, the unclear meaning can be clarified, the smooth poetic rhythm and form can be used, the irregular structure can be avoided, and the pause can be used to strengthen the coherence of poetic sentence patterns. Denham' s fluent translation makes people feel that reading his translation is not reading the translation, but reading the original English work. Therefore, he is known as "Virgil" in Britain.

(3) The translator has his own choice and motivation. Denham chooses the free translation method and the translation of ''Aeneas'' has its own purpose: the relationship between the king and his descendants in the Trojan story will remind the reader of Britain at that time. He hopes to give cultural support to the English monarch through the translation of such a work. There is an imaginary connection between Troy's pedigree and the defeated Caroline government at that time. This kind of ideological manipulation and rewriting confirms his translation It serves the royalists. Therefore, his translation is very flexible and has more freedom than other translators.

====3.3 John Dryden: Three Principles of Translation====

John Dryden (1631 - 1700), an English poet, translator and dramatist, is the most influential critic in Britain in the 17th century. His literary criticism has influenced the following two centuries. As a translation theorist, his discourse on translation is considered to be the most systematic in western translation theory before the 17th century.

The three translation types (1680) divided by Dryden and the three translation principles (1797) of Tytler all advocated to talk about translation in civilian rather than pretentious academic language, which is why their translation theory is still used today. As the "the first translation theorist" so far, Dryden' s translation views were mainly reflected in the translation of the ''Preface to Ovid' s Epistles''. Dryden classified three types of translation as follows:

All translations,I suppose, may be reduced to these three heads.

(1)First, that of metaphrase，or turning an author word by word, and line by line, from one language into another. Thus, or near this manner, was Horace his ''Art of Poetry'' translated by Ben Jonson.

(2)The second way is paraphrase, or translation with latitude, where the author is kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that is admitted to be amplified, but not altered. Such is Mr. Walter' s translation of Virgil's fourth ''Aeneid''.

(3)The third way is that of imitation, where the translator( if now he has not lost that name) assumes the liberty, not only to vary from the words and sense, but to forsake them both as he sees occasion; and taking some hints from the original, to run division on the groundwork, as he pleases. Such is Mr. Cowley' s practice in turning two Odes of Pindar, and one of Horace, into English.

Among the three translation methods, Dryden is most opposed to Ben Jonson' s word for word translation, that is, literal translation. It is considered that this translation method is like "tis much like dancing on ropes with fed legs", which mechanically imitates the original text, but can not be separated from the constraints of its grammar, sentence pattern and poetic rhythm, so that its semantics is obscure. As for the great freedom of imitation translation, the purpose of the translator is to imitate the previous works in subject content and literary form, neither translated words nor translated meaning. Therefore, literal translation and imitation translation are the two most extreme forms of translation, and translators should take warning. Free translation is the translation method advocated by Dryden. The so-called free translation means that the translator must have a limit of freedom. He should always see the author and not lose his way. From this point of view, Dryden insists that poetry translation must "translate poetry with poetry", that is, the person who translates poetry must be a poet, so that he can understand the charm of the original and better express it in the target language and aesthetic language.

The three classifications of Dryden' s translation have a great influence on the western translation theory in the 20th century. They are an indispensable part of western translation theory. His translation theory represents the peak of the development of English and criticism theory in the 17th century.

====3.4 Alexander Pope: Translation of Homer Epic====

Alexander Pope (1688-1744) is an important poet and translator in the Enlightenment period of the 18th century. His ''An Essay on Criticism'' (744 lines) is written in antithetical verses, expounding the aesthetic principles of classical literature and art, and establishes Pope's position in the history of English literature. Pope became famous for translating Homer's epics and won a reward of 10000 pounds and a great reputation.

Pope's translation of Homer's epic is accused by translation critics of not rhyming and reading like an 18th century Englishman. In other words, Pope's translation of Homer's epic is not so much a reflection of Homer's style as Pope's own style. His translation is full of personal characteristics and idioms. But when discussing translation, Pope said that his translation is better than those full of translation cavity. His main translation views are recorded in the translation preface of the ''Iliad''. Pope's translation theory is very similar to Dryden' s: (1) he advocates free translation and maintains the beauty of poetry translation. (2) it is the sacred mission of the translator not to add or delete arbitrarily in translation. (3) the relationship between literal translation and free translation is dialectical. Literal translation can not reproduce the beautiful meaning of the original text, but it is wrong to make up for it by hasty free translation. (4) servile loyalty to the literal meaning will only damage the poetic style of the original text. (5) the plain and clear style of Homer's epic in modern language is not a lesson. Translation should reflect the main characteristics of the original: when talking about the beauty and defects of the original, we should talk about the translation, which is the embodiment of the main characteristics of it. As long as the main parts of the original poem show the contents such as fables, etiquette and emotion, no translator will save and compress them out of his own prejudice. The same is true for the translation of every image, description and simile. If we save too much translation, it will weaken the main characteristics of the original poem.

In Pope's view, the translator should not only grasp the characteristics of the original text, but also deal with the idioms and metaphors in Homer's epic, strive to reproduce the image of the original text, and can not be arbitrarily deleted due to personal prejudice. The beautiful and noble poetic features of the original text should also be reproduced in the translation. Pope is often criticized for some affectation and arbitrary play. The accusation of the former may be related to Pope's neoclassicism. Arbitrary play is a major feature of some humanist translators.

Generally speaking, Pope adopts the domestication translation method to explain, understand and translate the original work with the poetic concepts of the Enlightenment period, in order to maintain a smooth and natural poetic flavor in the target language. Compared with the other two translators of Homer's epics Chapman and R. lattinmore, Pope's translation is generally very neat and elegant, reproducing the style of neoclassicism. Chapman' s translation is beautiful, while the translation of R. lattinmore, a translator in the 20th century, is fresh and casual. In general, Pope's translation of Homer's epic is neat and reproduces Homer's poetic flavor, charm to a certain extent.

===4. The National and World Visions of Translation===

The 17th century to the 19th century is the climax of the development of modern western translation theory. A large number of writers and translators with world reputation have sprung up in Britain, France and Germany. Generally speaking, the free translation school originated in France in the 17th century and had a great influence on Britain. There were many innovations in translation theory in Britain from the 17th to the 18th century. The discussion at this stage mainly focused on the translation of classical poetry. In Germany, with the emergence of “Stum and Drang, Storm and Stress” and Romanticism in the 18th and 19th centuries, German Conservatism has showed up.

The 19th century, represented by the "Stum and Drang, Storm and Stress", is a period of great development of German Conservatism, represented by the "German Romanticism", which is also a stage of the transition of literary and artistic forms from classicism to Romanticism, which can also be said to be the romanticism in the naive period. The central representatives of this movement are the famous writers Goethe and Schiller. Goethe's ''The Troubles of Young Witt'' is the representative work of this period, expressing the conflict of human inner feelings and the spirit of striving. This movement lasted for nearly 30 years, from 1765 to 1795, and then was replaced by the mature romantic movement. A large number of linguists, writers and translation theorists such as Herder, Goethe, Humboldt, Schleiermacher, Holderlin and Schlegel came on stage one after another. They translated a considerable number of classical works of ancient Greece and Rome, also translated and introduced a large number of works of other European countries (such as the translation of Shakespeare's plays). German literature in this period has won a great reputation all over the world. Due to the participation of the above-mentioned literature, German translation activities and translation research have also reached an unprecedented zenith, which has laid a solid foundation for western translation theory in the 20th century.

====4.1 Language Shapes the National Identity: Johann Gottfried Herder and Wilhelm von Humboldt====

The humanistic thoughts sweeping the whole Europe, such as humanism, classicism, enlightenment, “Stum and Drang, Storm and Stress” and romanticism, make the relationship between European countries closer and closer. These movements provide important conditions and environment for the birth of translation theory. Herder and Humboldt demonstrated the relationship between language, translation and national identity from the perspective of language.

Johann Gottfried Herder (1744 - 1803) is a pioneer of the German rapid movement. As a forerunner of the enlightenment movement, Herder always focuses on how to use translation to transform German literature. In his opinion, the growth of German national literature is inseparable from translation. His views on translation are scattered on the origin of language, on the more recent German literature and other works. These views on language and translation have a great impact on language education and translation circles. From the perspective of language, he believes that speech is invented by man, and language represents rationality: "Without language, man has no reason and without reason no language." Herder's view of language nature opposes taking language as a simple tool and medium. He believes that language is a national organism, which can best reflect the national spirit and national soul (Volksgeist) , is the bond that forms the nation-state. Whoever loses his own language loses his identity and patriotism. Germans should be proud of their language and nation. Herder and Humboldt put forward that language determines thinking, which not only provides a basis for the self hypothesis theory two centuries later, but also gives a view of the uncertainty and untranslatability of translation buried the foreshadowing. (Rousseau, Jean Jacques and John Gottfried Herder 1986: 121)

Herder opposes the deification of language and insists on explaining the generation of language from the perspective of naturalism. He believes that rationality is the key to the origin of language. He tries to provide a natural rather than reductionist explanation for human characteristics and creativity, and seeks the origin of language in human natural characteristics. Herder's natural reductionism is not only used to explain the origin of language, but also the power of natural interpretation is extended to all fields of culture to reflect the characteristics of human creation, such as art, religion, law, etc. Through the power of natural interpretation, they are included in a scientific world outlook. This language turning point fundamental. Its significance is that people begin to pay real attention to the problems of language itself, such as the essence of language, the relationship between language and rationality, how language can be expressed, etc. Then Humboldt inherited and developed Herder's view. Language blindness is no longer just a vassal of rationality, a simple tool. From then on, he began to get out of the influence of theology and gradually formed an independent philosophy of language.

Herder's views had a great impact on Humboldt.

Wilhelm von Humboldt (1767-1835) is the most influential linguist, philosopher and educational reformer in the West.

Humboldt's main translation views are:

(1) Language determines thought and culture. A language is the reflection of real life. Language has unique national characteristics, and the languages of different nationalities reflect their cultural characteristics. Different languages reflect the world outlook of different nationalities. It emphasizes the reaction of language to thinking: language determines thought and mode of thinking, and different languages have different schemata to understand the world. Translation consists of different languages and forms different language schemata. Therefore, equivalence in translation is impossible.

(2) The more you know a language, the greater the distance between nations. This is because different nations have different world views and different language habits. From this point of view, because we are aware of the great differences between different languages, we believe that it is impossible to achieve complete equivalence. Therefore, mutual translation between languages is impossible.

(3) Translation should deeply understand the era, atmosphere and character of the original author, and strive to avoid the obscure side of the translation and ensure the readability of the translation.

(4) The phonological beauty of poetry and drama translation must be maintained. Meter pattern is the key to all beauty.

Humboldt' s contribution to translation theory is that he is aware of the tension and contradiction of translation. He does not recognize the existence of a universal conceptual system beyond language boundaries. Therefore, his view of translation was interpreted as the representative of untranslatability in the 20th century. Because there are two meanings of "ubersetzen" and "dolmesschen" in German translation, "understanding" always carries "pre-understanding", that is, with personal subjective vision or prejudice, it is impossible to completely reach a consensus between different individuals. "Dolmesschen" let us have the opportunity to enter the commonness of language, which enables translation to cross specific social and cultural factors, and it is possible to understand each other between languages, so there is a reason to seek equivalence in translation. This is Humboldt' s dualism of language and translation.

====4.2 The Soaring Literary Translation: Johann Wolfgang Goethe and Friedrich Holdern====

Johann Wolfgang Goethe (1749-1832) is the greatest poet, translator and outstanding representative of Romanticism in Germany.

To sum up, Goethe believes that translation can be divided into three types.

(1) Facing different types of readers, we need different types of translation. In poetry and truth, he said, "if you want to influence the masses, a simple translation is always the best. Critical translations vying with the original really are of use only for conversations the learned conduct among themselves."(Lefevere, Andrew 1992: 75)

(2) Adaptation or imitation translation. "The second stage is that the translator translates contentedly according to his own wishes. Even if the translator tries to integrate himself into foreign situations, I would rather call this stage imitation stage."(Lefevere, Andrew 1992: 75)

(3) Pay attention to rhythmic literal translation sentence by sentence. Homer's ''Odyssey'' and ''Iliad'' translated by German Translator J. h. Voss made him famous overnight. His translation has beautiful rhythm and intonation and accurate choice of words and sentences. Although the public could not accept the strict literal translation rhythm at first, it gradually recognized it later. Goethe emphasizes that public taste can be shaped through translation.

Among all these three types of translation, Goethe most appreciates the literal translation that pays attention to rhythm, because as a poet, he takes into account the poetic characteristics such as meter pattern and rhythm, which are the true qualities of the original author. Goethe mentioned two principles of Translation: first, foreign writers move closer to the target language, so that his works look the same as the target language writers; Second, readers cross the border to adapt to foreign customs and language characteristics.

Goethe's translation theory is based on his romantic aesthetics. He believes that literal translation can not only convey the information of the original text, but also express the beauty of the translation.

Friedrich Holderlin (1770-1843) is the greatest lyric poet in the German Romantic period.

Holderlin advocates that every language of human beings is derived from the same basic language form, that is, what Benjamin called "pure language". Not only translation, but also creation should return to this ancient source. In translation practice, translators should adhere to literal translation, reflecting the heterogeneity of the original text. In modern poetics and translation studies, Holderlin' s language ontology is mainly based on the view of looking for "words beyond speech". This literal translation brings, of course, lexical obscurity, and Holderlin believes that the more obscure the translation, the more enlightening the tension. This poetic dialectics undoubtedly has a mystical point of view. It is very interesting that in the 20th century, people talked most about the essence of translation. The main point of view related to the essence of translation comes from Holderlin, a "firm guardian of letters" of the literal translation school. He created endless topics for translation. To some extent, Holderlin is the prophet of contemporary translation theory.

===5. Conclusion===

To sum up, as an important stage in the development of Western culture, humanistic trend cannot show up without the practice of cultural translation. As a part of the social thought at that time, translation thought is related to the social and cultural context in that period. Like other social trends at that time, translation thoughts in the period of the Renaissance and the Religious Reformation have played an important role in the evolution of the history of western translation, both returning to the original period and moving towards the new era. Humanistic trend is a turning point in the history of western translation. In short, the emergence of humanistic trend on the historical stage indicates that translation practice and theory have broken away from the "dark" Middle Ages and makes a huge step forward".

===References===

Bassnett, Susan. (1980) Translation Studies. London and New York: Methuen.

Lefevere, Andrew. eds. (1992) Translation/History/Culture: A Source Book. London : Routledge.

Munday, Jeremy. (2001) Introducing Translation Studies : Theories and Applications. London/New York : Routledge.

Nida, Eugene. (1964) Toward A Science of Translating. Leiden: E. J. Brill.

Robinson, Douglas. (1997) Western Translation Theory : from Herodotus to Nietzsche. Manchester : St. Jerome Publishing.

Rousseau, Jean Jacques and John Gottfried Herder. (1986) On the Oringin of Language. Chicago : The University of Chicago Press.

Tan Zaixi tan 谭载喜(2004). 西方翻译简史 A Brief History of Western Translation. 北京：商务印书馆 Beijing: The Commercial Press.

Wang Zuoliang, He Qishen 王佐良、何其莘(1996). 英国文艺复兴时期文学史 A History of English Renaissance Literature. 北京：外语教学与研究出版社 Beijing: foreign Language Teaching and Research Press.

Wang Zuoliang, He Qishen 王佐良，何其莘(1994). 英国文艺复兴时期的文学史 A History of English Renaissance Literature 北京：外语教学与研究出版社 Beijing: foreign Language Teaching and Research Press.

Xie Tianzhen 谢天振(2014). 中西翻译简史 A Brief History of Chinese and Western Translation. 北京：外语教学与研究出版社 Beijing: foreign Language Teaching and Research Press.

Yao Xiaoping 姚小平(1998). 赫尔德论语言的起源译本 The Translation of Herder' s Treatise on the Origin of Language 北京：商务印书馆 Beijing: The Commercial Press.

Written by --[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 08:38, 9 December 2021 (UTC)

20211215 homework

2021-12-30T05:44:50Z

Wei Zhaoyan: /* 魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学）女 202120081528 */

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==陈静 Chén Jìng 国别女 202020080595==

鼎：古代食器。胡羼(chàn忏) ──胡闹。羼：本义为群羊杂居。引申为杂乱不纯，乱七八糟。

Tripod (Ding in Chinese): ancient food utensil. Hu Chan in Chinese means nonsense. Chan in Chinese originally means that the sheep live together, whose extensive meaning is mess.
----

Tripod: ancient food utensil. Hi Chan - nonsense. The original meaning is that sheep live together. It is extended meaning to be messy, impure and messy.
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:25, 12 December 2021 (UTC)

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

抓──即“抓周”，亦称“试儿”、“试周”。旧俗于婴儿满周岁时，父母摆列各种小件器物，任其抓取，以测试其秉性、智愚、志趣。此俗始于江南，后亦传到北方。

Grasping -- namely "grasping the week", also known as "trying the child" and "trying the week". The old custom is that when a baby reaches the age of one year, his parents arrange all kinds of small objects and let him grab them to test his temperament, intelligence and interest. This custom began in the south of the Yangtze River and later spread to the north.
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:23, 12 December 2021 (UTC)

Catch ─ ─ means "catch the week", also known as "test" and "test week". The old custom is when the baby reaches one year old, the parents arrange all kinds of small utensils and let them grab them to test their disposition, wisdom and ambition. This custom began in the south of the Yangtze River and then spread to the north.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:41, 11 December 2021 (UTC)

==曾俊霖 Zēng Jùnlín 国别男 202120081478==

事见北朝周·颜之推《颜氏家训·风操》：“江南风俗，儿生一期(年)，为制新衣，盥浴装饰，男则用弓矢纸笔，女则刀尺针缕(线)，并加饮食之物及珍宝服玩，置之儿前，观其发意所取，以验贪亷智愚，名之为试儿。”

It is said in Yan's family instructions and customs by Yan Zhitui of the Northern Dynasty that "the custom in the south of the Yangtze River was born in the first year. It was to make new clothes and decorate bathrooms. Men used bows and arrows, paper and pens, women used knives, rulers, needles and threads (lines), and played with food and precious clothes. They were placed in front of their children and looked at what they wanted to take to test their greed, wisdom and stupidity. They were called test children."--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:37, 11 December 2021 (UTC)

It is said in Yan's family instructions and customs by Yan Zhitui of ''the Northern Dynasty'' that the custom in the south of the Yangtze River was born in the first year. It was to make new clothes and decorate bathrooms. Men used bows and arrows, paper and pens, women used knives, rulers, needles and threads (lines), and played with food and precious clothes. They were placed in front of their children and looked at what they wanted to take to test their greed, wisdom and stupidity. They were called test children."--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 12:20, 20 December 2021 (UTC)Chen Huini

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

(宋·赵彦卫《云麓漫钞》卷二也有相同记载)又宋·叶真《爱日斋丛钞》卷一：“《玉壶野史》记曹武惠王(曹彬)始生周晬日，父母以百玩之具罗于席，观其所取。

(Song · Zhao Yanwei's ''Yunlu Manchao'', Volume 2 has the same record) and Song · Ye Zhen, Volume 1, ''Ai Ri Zhai Cong Chao'': "''In the History of Jade Pot'', when King Cao Wu hui (Cao Bin) was on the year ahead in the first week of his birth, his parents viewed the year he took with a hundred toys on the table.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 12:24, 20 December 2021 (UTC)Chen Huini

（also recorded in Volume 2 of ''Yunlu Essay'' by Zhao Yanwei，Song Dynasty） Volume 1 of ''Ai Rizhai Essay'' by Ye Zhen，Song Dynasty：“ ''History of Jade Pot'' records that King Wuhui（Cao Bin）'s parents put many toys on the table and observed his choice when he was 100 days years old.”--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 00:53, 22 December 2021 (UTC)

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

武惠王左手提干戈，右手提俎豆，斯须取一印，馀无所视。曹，真定人。江南遗俗乃在此(指真定)，今俗谓试周是也。”

Lord Wuhui holds weapons with his left hand and dinnerware in his right hand.Then he looks at a seal and graps it without seeing anything else.Lord Wuhui, whose first name is Cao, comes from Zhen Ding county. The place is called Shi Zhou now, on whiche Jiang Nan's old cities lay.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 00:23, 14 December 2021 (UTC)

Lord Wuhui holds weapons with his left hand and dinnerware in his right hand.Then he looks at a seal and graps it without seeing anything else.Lord Wuhui, whose first name is Cao, comes from Zhen Ding county. The place is so-called Shizhou now, on which ancient Jiangnan lay.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:07, 14 December 2021 (UTC)

==陈心怡 Chén Xīnyí 翻译学女 202120081481==

致知格物──语出《礼记·大学》：“致知在格物，格物而后知至。”意谓要想获得知识，必须探究事物的道理。致：获得，取得。

Zhi Zhi Ge Wu- ''From The Book of Rites·Daxue'': "Zhizhi lies in Gewu, and after Gewu, knowledge arrives." It means that in order to gain knowledge, one must inquire into the truth of things. Zhi: To acquire, to obtain.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:18, 12 December 2021 (UTC)

Zhi Zhi Ge Wu - originated from ''The Book of Rites·Daxue'': "The intention of Zhizhi refers to Gewu, and after the process of Gewu, knowledge will be obtained." It means that in order to gain knowledge, one must inquire into the truth of things. Zhi: to acquire, and to obtain.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 14:45, 20 December 2021 (UTC)

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

格：推究，探究，探讨。尧……张──尧、舜、禹、汤、文、武，即唐尧、虞舜、夏禹、成汤、周文王、周武王，是从上古至西周的明君；

Ge: means deduction, exploration and discussion. Yao...Zhang──Yao, Shun, Yu, Tang, Wen, Wu, namely Tang Yao, Yu Shun, Xia Yu, Cheng Tang, Emperor Wen of Zhou Dynasty, Emperor Wu of Zhou Dynasty, they are all wise emperors from ancient times to the Zhou Dynasty;--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 13:11, 11 December 2021 (UTC)

Ge: means deduction, exploration and discussion. Yao...Zhang──Yao, Shun, Yu, Tang, Wen, Wu, namely Tang Yao, Yu Shun, Xia Yu, Cheng Tang, Emperor Wen of Zhou Dynasty, Emperor Wu of Zhou Dynasty, they are all wise emperors from ancient times to Zhou Dynasty;--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 12:13, 19 December 2021 (UTC)

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

周、召，即周公旦、召公奭，都是西周的贤相；孔、孟，即孔丘(通称孔子)、孟轲(通称孟子)，都是儒学的创始人；董、韩、周、程、朱、张，即汉代董仲舒、唐代韩愈、北宋周敦颐、北宋程颢和程颐兄弟、南宋朱熹、北宋张载，都是儒学理论家。

Zhou, called the Duke of Zhou, and Zhao, called Duke of Shi, are both talented prime ministers (in feudal China); Kong (generally called Confucius) and Meng (generally called Mencius) are both founders of Confucianism; Dong (Dong Zhongshu in Han Dynasty), Han (Han Yu in Tang Dynasty), Zhou (Zhou Dunyi in the Northern Song Dynasty), Cheng (Cheng Jing and Cheng Yi brothers in the Northern Song Dynasty), Zhu (Zhu Xi in the Southern Song Dynasty), Zhang (Zhang Zai in the Northern Song Dynasty) are all Confucian theorists. --[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 07:19, 12 December 2021 (UTC)

Zhou and Zhao are respectively the Duke of Zhou and the Duke of Shi and both are talented prime ministers of the Western Zhou Dynasty; both Kong (generally called Confucius) and Meng (generally called Mencius) are founders of Confucianism; Dong (Dong Zhongshu in Han Dynasty), Han (Han Yu in Tang Dynasty), Zhou (Zhou Dunyi in the Northern Song Dynasty), Cheng (Cheng Jing and Cheng Yi brothers in the Northern Song Dynasty), Zhu (Zhu Xi in the Southern Song Dynasty), Zhang (Zhang Zai in the Northern Song Dynasty) are all Confucian theorists. --[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 08:09, 12 December 2021 (UTC)

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

这些人皆是儒家竭力推崇的人物。蚩尤……秦桧──蚩尤、共工，都是传说中上古最凶恶的部族首领；桀、纣、始皇，即夏桀、商纣王、秦始皇，都是登峰造极的暴君；

All these people are strong recommended by confucianists such as Chi You(a mythological warrior engaged in fighting with the Yellow Emperor), Qin Hui (a traitor in the Song dynasty in Chinese history)and so on. Among them both Chi You and Gong Gong (the water god in ancient Chinses history and the devil of floods) are the most ferocious tribal chief in the Chinese legend;and all Xia Jie, Shang Zhou and Qin Shi Huang, being respectively the emperor Jie of Xia Dynasty，the emperor Zhou of Shang Dynasty and the first emperor of Qin Dynasty, are extremely tyrannical.

All these people are strongly recommended by Confucianists such as Chi You(a mythological warrior engaged in fighting with the Yellow Emperor), Qin Hui (a traitor in the Song dynasty in Chinese history)and so on. Among them both Chi You and Gong Gong (the water god in ancient Chinses history and the devil of floods) are the most ferocious tribal chief in the Chinese legend;and all Xia Jie, Shang Zhou and Qin Shi Huang, being respectively the emperor Jie of Xia Dynasty，the emperor Zhou of Shang Dynasty and the first emperor of Qin Dynasty, are extremely tyrannical.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 14:13, 19 December 2021 (UTC)

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

王莽、曹操、桓温、安禄山、秦桧，他们分别是汉代、三国、东晋、唐代、南宋人，都是大奸臣乃至叛逆之贼。许由……朝云──许由，传说他是上古时为了逃避帝位而终生隐居的贤人；陶潜(即陶渊明)、阮籍、嵇康、刘伶，都是魏晋时期著名文学家及不与流俗同低昂的独行之士；

Wang Mang, Cao Cao, Huan Wen, An Lushan and Qin Kuei, who were in the Han Dynasty, the Three Kingdoms, the Eastern Jin Dynasty, the Tang Dynasty and the Southern Song Dynasty respectively, were all great treacherous court officials and even traitors. It were Xu You... Zhao Yun -- Xu You who were said a sage who lived in seclusion all his life in order to escape the throne in ancient times. Tao Qian (Tao Yuanming), Ruan Ji, Ji Kang and Liu Ling were all prestigious persons in the Wei and Jin dynasties and mavericks who did not flow along with the turbid currents of the mainstream thought.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 14:10, 19 December 2021 (UTC)

Wang Mang, Cao Cao, Huan Wen, An Lushan and Qin Kuei, who were in the Han Dynasty, the Three Kingdoms, the Eastern Jin Dynasty, the Tang Dynasty and the Southern Song Dynasty respectively, were all great treacherous court officials and even traitors. Xu You... Zhao Yun -- Xu You. It is said that he was a sage who lived in seclusion all his life in order to escape the throne in ancient times. Tao Qian (Tao Yuanming), Ruan Ji, Ji Kang and Liu Ling were all famous writers in the Wei and Jin dynasties and mavericks who did not flow along with the turbid currents of the world.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 11:57, 19 December 2021 (UTC)

==付诗雨 Fù Shīyǔ 日语语言文学女 202120081486==

王谢二族，指东晋王导和谢安，都是显贵；顾虎头，即顾恺之，字虎头，是东晋名画家；陈后主、唐明皇、宋徽宗，都是有才气的风流皇帝；

The Two families of Wang and Xie, namely Wang Dao and Xie An, were both nobility in the Eastern Jin Dynasty. Gu Hutou, also known as Gu Kaizhi, was a famous painter in the Eastern Jin Dynasty. Emperor Chen Shubao of Chen, Emperor Ming of Tang and Emperor Huizong of Song were all talented and romantic emperors.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 10:07, 12 December 2021 (UTC)

The Two families of Wang and Xie, namely Wang Dao and Xie An, were both of the nobility in the Eastern Jin Dynasty. Gu Hutou, also known as Gu Kaizhi, was a famous painter in the Eastern Jin Dynasty. Emperor Chen Shubao of Chen, Emperor Ming of Tang and Emperor Huizong of Song were all talented and romantic emperors. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 01:02, 13 December 2021 (UTC)

==高蜜 Gāo Mì 翻译学女 202120081487==

刘庭芝即刘希夷(字庭芝)、温飞卿即温庭筠(字飞卿)，都是唐代名诗人；米南宫即米芾(南宫为世称)，是北宋名画家；石曼卿即石延年(字曼卿)、柳蓍卿即柳永(字蓍卿)、秦少游即秦观(字少游)，都是北宋著名文学家；

Liu Tingzhi, or Liu Xiyi (courtesy name Tingzhi), Wen Feiqin refers orWen Tingyun (courtesy name Feiqing) are both famous poets of the Tang Dynasty. Mi Nangong, or Mi Fu (nickname Nangong), was a famous painter of the Northern Song Dynasty; Shi Manqing, or Shi Yannian (courtesy name Manqing), Liu Yaoqing, or Liu Yong (courtesy name Yaoqing), and Qin Shaoyou, or Qin Guan (courtesy name Shaoyou), were famous literary scholars of the Northern Song Dynasty.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 01:03, 13 December 2021 (UTC)

Liu Tingzhi, or Liu Xiyi (styled Tingzhi), Wen Feiqin refers orWen Tingyun (styled Feiqing) are both famous poets of the Tang Dynasty. Mi Nangong, or Mi Fu (nickname Nangong), was a famous painter of the Northern Song Dynasty; Shi Manqing, or Shi Yannian (styled Manqing), Liu Yaoqing, or Liu Yong (styled Yaoqing), and Qin Shaoyou, or Qin Guan (styled Shaoyou), were famous literary scholars of the Northern Song Dynasty.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 12:27, 15 December 2021 (UTC)

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

倪云林即倪瓒，字云林，是元代名画家；唐伯虎即唐寅(字伯虎)、祝枝山即祝允明(字枝山)，都是明代名画家、文学家；李龟年(唐代人)、黄幡绰(唐代人)、敬新磨(五代后唐人)，都是名艺人；

Ni Yunlin, i.e Ni Zan, was a famous painter in the Yuan Dynasty. Tang Bohu i.e Tang Yin (styled Bohu), Zhu Zhishan i.e Zhu Yunming (styled Zhishan), are famous Ming dynasty painters, litterateurs; Li Gunian (Tang Dynasty), Huang Fan Chuo (Tang Dynasty), Jing Xinmo (five dynasties later Tang dynasty), are famous artists;--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 12:23, 15 December 2021 (UTC)

Ni Yunlin, or Ni Zan, or Ni Yunlin, was a famous painter in the Yuan dynasty; Tang Bohu (or Tang Yin) and Zhu Zhishan (or Zhu Yunming) were famous painters and literary figures in the Ming dynasty; Li Guinian (of the Tang dynasty), Huang Fanchuo (of the Tang dynasty), and Jing Xinmo (of the post-Tang dynasty of the Five Dynasties) were all famous artists.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 06:39, 15 December 2021 (UTC)

==何芩 Hé Qín 翻译学女 202120081489==

卓文君(已见第一回注)、红拂(先为隋相杨素的侍女，后私奔李靖，也是前蜀·杜光庭《虬髯客传》中的女主人公)、薛涛(唐代才妓)、崔莺(即唐·元稹《会真记》、元·王实甫《西厢记》中的崔莺莺)、朝云(宋代名妓)，他们都是以才貌流芳的名女。

Zhuo Wenjun (see the first chapter note), Hong Fu (she used to be as the servant of the Sui minister Yang Su, then eloping to Li Jing; she was also the heroine of ''The Legend of the Gnarled Man'' by Du Guangting), Xue Tao (a talented prostitute of the Tang Dynasty), Cui Ying (i.e. Cui Yingying of Yuan Zhen's ''The Book of Hui Zhen'' and Wang Shifu's "The Western Chamber"), Zhaoyun (a famous prostitute of the Song Dynasty), they are all famous for their talent and beauty. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 06:32, 15 December 2021 (UTC)

Zhuo Wenjun ( the first chapter noted), Hong Fu (she used to be as the servant of the minister of Sui Dynasty Yang Su, then eloping to Li Jing, also the heroine of ''The Legend of the Gnarled Man'' by Du Guangting), Xue Tao (a talented prostitute of the Tang Dynasty), Cui Ying (namely Cui Yingying of Yuan Zhen's ''The Book of Hui Zhen'' and Wang Shifu's "The Western Chamber"), Zhaoyun (a famous prostitute of the Song Dynasty), they are all famous for their talent and beauty.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 12:25, 19 December 2021 (UTC)

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

成则公侯败则贼──意谓成功的人便能获得公爵、侯爵之类的高官显爵，失败的人便被看作贼寇。表示世上并无公理，世人不讲是非，只论成功与失败，即只以成败论英雄。这里化用了“败则盗贼，成则帝王”。

Success makes the Duke while failure makes the theif ——which means that, If one is successful, he will be worshipped as the Duke. While one is unsuccessful, he will be despised as the thief. It expresses that there is no generally acknowledged truth in the world and people neglect justice and only pay attention to success and failure, that is, the sole measure. It coins a phrase here, “Failure makes a thief， success a king.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 12:25, 19 December 2021 (UTC)

The winner is Duke, the looser is theif means that the person who succeeded would be entitled like Duke and who failed would be dispised as a theif. It presents that there is no generally acknowledged truth in the world and people neglect justice and only pay attention to success and failure, that is, the sole measure. It coins a phrase here, “Failure makes a thief， success a king.”--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:58, 12 December 2021 (UTC)

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

出自宋·邓牧《君道》：“嘻！天下何常之有？败则盗贼，成则帝王。”东床──指女婿。典出《晋书·王羲之传》、南朝宋·刘义庆《世说新语·雅量》：晋朝太尉郗鉴派人至丞相王导家相婿，王丞相令其到东厢房随意挑选。

It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying "how can the world be immutable! The loser is the thief, and the winner is the emperor." Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography" and Liu Yiqing's "Shi Shuo Xin Yu · Elegance" (Southern Song dynasty): In Jin dynasty Tai Wei (supreme government official in charge of military affairs) Xijian sent an underlying to the prime minister Wang Dao's house for taking in a son-in-law, and Prime Minister Wang invite him to choose at will in the east wing.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:43, 12 December 2021 (UTC)

It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying "how can the world be immutable! The loser is the thief, and the winner is the emperor." Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography" and Liu Yiqing's "Shi Shuo Xin Yu · Elegance" (Southern Song dynasty): In Jin dynasty Tai Wei (supreme government official in charge of military affairs) Xijian sent an official to the prime minister Wang Dao's house choosing a son-in-law, and Prime Minister Wang invited him to choose at will in the east wing room.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:51, 12 December 2021 (UTC)

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

此人过去一看，见王家诸郎皆很矜持，唯独王羲之坦腹躺在东床之上，毫不在乎。此人回报，郗鉴即选中王羲之为婿。后世即以“东床”、“东床坦腹”、“东床客”、“东床娇客”等代指女婿。

The man looked over and saw that all the lords of Wang family were very reserved, except Wang Xizhi, who was lying on the east bed and didn't care, showing his belly. In return, Xi Jian chose Wang Xizhi as his son-in-law. Later generations referred to the son-in-law with "East Bed", "East Bed Man Showing Belly", "East Bed Guest", "East Bed Distinguished Guest" and so on.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 04:59, 12 December 2021 (UTC)

The man looked over and saw that all the lords of Wang family were very reserved, except Wang Xizhi, who was lying on the east bed and didn't care, showing his belly. In return, Xi Jian chose Wang Xizhi as his son-in-law. Later generations referred to the son-in-law with "East Bed", "East Bed Man Showing Belly", "East Bed Guest", "East Bed Distinguished Guest" and so on.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 13:54, 19 December 2021 (UTC)Huang Zhuliang

==黄柱梁 Huáng Zhùliáng 国别男 202120081493==

退了一舍之地──意谓退避三十里。形容退居其后，不敢与争。一舍：三十里。这里化用了“退避三舍”之典。He retreat thirty miles. It describes retreating behind and not daring to compete with. Yishe: Thirty Li. The code of "retreat and give up" is used here.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 13:53, 19 December 2021 (UTC)Huang Zhuliang

He retreat thirty miles. It describes retreating behind and not daring to compete with. Yishe: Thirty Li. The code of "retreat and give up" is used here
--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 12:02, 19 December 2021 (UTC)

==金晓童 Jīn Xiǎotóng 202120081494==

典出《左传·僖公二十三年》：春秋时，晋国公子重耳出奔至楚，楚成王礼遇之，因问道：“公子若反(返)晋国，则何以报不谷？”重耳对曰：“若以君之灵，得反晋国，晋、楚治兵，遇于中原，其辟(避)君三舍。”
This story comes from ''Zuo Zhuan · Xi public twenty three years'': During the Spring and Autumn Period (777-476 BC), Childe Chong Er of the state of Jin went to the state of Chu. King Cheng of Chu gave a banquet for Chong er and asked, "If childe returns to the state of Jin, how will you repay me? Chong Er answered, "If I can return to the state of Jin, if the troops of the state of Jin and the state of Chu meet each other in the Central Plains, I will ask the troops of the state of Jin to retreat 90 li.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 06:56, 12 December 2021 (UTC)
This story comes from ''Zuo Zhuan · Xi public twenty three years'': During the Spring and Autumn Period (777-476 BC), Childe Chong Er of the state of Jin went to the state of Chu. King Cheng of Chu gave a banquet for Chong er and asked, "If childe returns to the state of Jin, how will you repay me? Chong Er answered, "If I can return to the state of Jin, if the troops of the state of Jin and the state of Chu meet each other in the Central Plains, I will ask the troops of the state of Jin to retreat 90 li.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 09:18, 29 December 2021 (UTC)

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

后重耳返国为君，晋、楚城濮(在今山东省鄄城县西南)之战，重耳遵守诺言，晋军果“退三舍以辟之”。

第三回

托内兄如海荐西宾接外孙贾母惜孤女

Then Childe Chong Er came back to his country as Emperor. In the battle of Jin and Chu in Chengpu (in southwest of Juancheng county in Shandong province), he keeps his promise, then the army of Jin actually retreated to avoid the war.

Chapter 3

Entrust cousin Ru Hai with recommendations of distinguished gusts; Accept granddaughter lady Dowager takes pity on orphan girl

Then Childe Chong Er came back to his country as Emperor. In the battle of Jin and Chu in Chengpu (in southwest of Juancheng county in Shandong province), he keeps his promise, then the army of Jin actually retreated to avoid the war.

Chapter 3

Entrust cousin Ru Hai with recommendations of distinguished gusts; Welcoming her granddaughter, lady Dowager takes pity on the orphan girl.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 11:13, 20 December 2021 (UTC)

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

却说雨村忙回头看时，不是别人，乃是当日同僚一案参革的张如圭。他系此地人，革后家居，今打听得都中奏准起复旧员之信，他便四下里寻情找门路，忽遇见雨村，故忙道喜。二人见了礼，张如圭便将此信告知雨村。

Rainvillage Merchant, turning round in a hurry, perceived that the speaker was no other than a certain Chang Rugui, an old colleague of his, who had been denounced and deprived of office, on account of some case or other; a native of that district, who had, since his degradation, resided in his home.Having come to hear the news that a memorial, presented in the capital, that the former officers (who had been cashiered) should be reinstated, had received the imperial consent, he had promptly done all he could, in every nook and corner, to obtain influence, and to find the means (of righting his position,) when he, unexpectedly, came across Rainvillage Merchant, to whom he therefore lost no time in offering his congratulations. The two friends exchanged the conventional salutations, and Chang Ju-kuei communicated the tidings to Yue-ts'un.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 07:11, 25 December 2021 (UTC)

Rainvillage Merchant, speedily looking back on, perceived that the speaker was no other than a certain Chang Ju-kuei, an old colleague of his, who had participated in the former case but been denounced and deprived of office, on account of some case or other. He was a native of that district, who had resided at home since his degradation. Having lately come to hear the news that a memorial, presented in the capital, that the former officers (who had been cashiered) should be reinstated, had received the imperial consent, he had promptly done all he could to obtain influence, and to find the means of righting his position. When he, unexpectedly, came across Rainvillage Merchant, he offered offering his congratulations to him soon. The two friends greeted to each other, exchanging the conventional salutations, and Chang Ju-kuei forthwith passed on the information to Rainvillage Merchant.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:55, 15 December 2021 (UTC)--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 13:42, 29 December 2021 (UTC)

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

欢喜，忙忙叙了两句，各自别去回家。冷子兴听得此言，便忙献计，令雨村央求林如海，转向都中去央烦贾政。雨村领其意而别，回至馆中，忙寻邸报看真确了。次日，面谋之如海。如海道：“天缘凑巧。

Rainvillage Merchant was delighted, but after he had made a few remarks in a hurry, each took his leave and sped on his own way homewards. After hearing this conversation, Leng Tzu-hsing hastened at once to propose a plan, advising Rainvillage Merchant to request Lin Ju-hai, then, in his turn, to appeal to Master Merchant in the capital for support.Rainvillage Merchant accepted the suggestion, and took leave of him. Upon returning to the quarter, he made all haste to lay his hand on the Metropolitan Gazette, to ascertain whether the news was authentic or not. On the next day, he had a personal consultation with Ju-hai. "Providence and good fortune are both alike propitious!" said by Ju-hai.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:57, 15 December 2021 (UTC)--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 13:45, 29 December 2021 (UTC)

Yue-ts'un was delighted, but after he they made a short conversation, each of them stepped on their own way homewards. After hearing the words of Yue-ts'un, Leng Tzu-hsing hastened at once to propose a plan, advising Yue-ts'un to request Lin Ju-hai, then, in his turn, to appeal to Chia Cheng in the capital for support. Yue-ts'un accepted the suggestion, and took leave of him. Upon returning to the quarter, he made all haste to read the Metropolitan Gazette, to ascertain the authenticity of that news. On the next day, he made a personal consultation with Ju-hai. Thus, Ju-hai said, "Providence and good fortune are both alike propitious!" --[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:06, 15 December 2021 (UTC)

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

因贱荆去世，都中家岳母念及小女无人依傍，前已遣了男女、船只来接，因小女未曾大痊，故尚未行。此刻正思送女进京。因向蒙教训之恩，未经酬报，遇此机会，岂有不尽心图报之理？弟已预筹之，修下荐书一封，托内兄务为周全，方可稍尽弟之鄙诚；

Since my wife has passed away, my mother-in-law has long before dispatched servants and transporting boats here to fetch my lonely daughter. But she has not set off yet due to the fact that she had not fully recovered at that time. As she is in good condition now, I am considering sending her to her grandma's. Once you have taught my daughter but desired no handsome payment; while now you need help, how can I sit on the fence? I have already well prepared for that in advance --- a recommendation letter has been written to my brother-in-law, to ensure your success in career. Only in this way can I show my gratitude towards you.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 08:15, 11 December 2021 (UTC)

Since my wife has passed away, my mother-in-law who lives in the capital worried that my daughter has no one to rely on. So she has long before dispatched servants and transporting boats here to fetch my lonely daughter. But she has not set off yet due to the fact that she had not fully recovered at that time. As she is in good condition now, I am considering sending her to her grandma's. Once you have taught my daughter but desired no handsome payment; while now you need help, how can I sit on the fence? I have already well prepared for that in advance --- a recommendation letter has been written to my brother-in-law, to ensure your success in career. Only in this way can I show my gratitude towards you.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 07:43, 12 December 2021 (UTC)

==李双 Lǐ Shuāng 翻译学女 202120081499==

即有所费，弟于内家信中写明，不劳吾兄多虑。”雨村一面打恭，谢不释口；一面又问：“不知令亲大人现居何职？只怕晚生草率，不敢进谒。”如海笑道：“若论舍亲，与尊兄犹系一家，乃荣公之孙：大内兄现袭一等将军之职，名赦，字恩侯；

“As for the possible costs, I will explain in the letter. You don’t need to worry about it.” Yu Cun bent down and expressed his gratitude, asking: “What does your brother do now? I’m worried that I would take the liberty to pay a visit, it’s too hasty.” Ru Hai laughed and said: “My brother and your brother belong to the same family. They are both descendants of Origin Merchant. My eldest brother is now a first-class general, his name is Pardon Merchant, whose alternative given name is Enhou.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 07:38, 12 December 2021 (UTC)

“As for the possible costs, I will explain in the letter. You needn’t to worry about it.” Yu Cun bent down and expressed his gratitude, asking: “What does your brother do now? I’m worried that I would take the liberty to pay a visit, it’s too hasty.” Ru Hai laughed and said: “My brother and your brother belong to the same family. They are both descendants of Ronggong. The eldest brother of my wife is now a first-class general, his name is Pardon Merchant, whose alternative given name is Enhou.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 23:46, 12 December 2021 (UTC)

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

二内兄名政，字存周，现任工部员外郎，其为人谦恭厚道，大有祖父遗风，非膏粱轻薄之流，故弟致书烦托，否则不但有污尊兄清操，即弟亦不屑为矣。”雨村听了，心下方信了昨日子兴之言，于是又谢了林如海。

“The second brother of my wife named Zheng, his style name is Cunzhou. He is the Yuanwai official of the Ministry of Works in feudal China. He is moderate and kind, has the dignity of his grandfather, and is not the flimsy type. Therefore, my brother sent a letter to me. Otherwise, I will not only pollute my brother's operation, but also despise my brother.” After hearing this, Yuchun had believed the words of Zixing yesterday, therefore, he thanked Lin Ruhai again. --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 01:27, 12 December 2021 (UTC)

The second brother-in-law is named Zheng, and the word is kept in Zhou. He is currently a member of the Ministry of Engineering. He is courteous and kind. He has a grandfather's legacy. He is not anointing and frivolous. Disdainful. "Yucun listened, and believed in Xing's words from yesterday, so he thanked Lin Ruhai again.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:12, 12 December 2021 (UTC)

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

如海又说：“择了出月初二日小女入都，吾兄即同路而往，岂不两便？”雨村唯唯听命，心中十分得意。如海遂打点礼物并饯行之事，雨村一一领了。那女学生原不忍离亲而去，无奈他外祖母必欲其往，且兼如海说：“汝父年已半百，再无续室之意；
Ruhai also said: "I chose the girl to enter the capital on the second day of the lunar month, and my brother will go the same way. Isn't it both convenient?" Yucun obeyed,and RuHai was very satisfied . Ruhai then took some gifts and walked away, and Yucun took them one by one. The girl student couldn't bear to leave her relatives, but his grandmother wanted to go there. She also said like the sea: "Your father is half a hundred years old, and there is no intention to remarry.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:11, 12 December 2021 (UTC)
Ruhai said, "I chose the second day of the month to enter the capital, and my brother went the same way. Rain village obedient, the heart is very proud. Such as Haisui make gifts and farewell dinner, Rain village one by one. The girl could not bear to leave her, but her grandmother wanted her to go, saying, "Your father is fifty years old, and has no intention of staying in the house;--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:27, 19 December 2021 (UTC)

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

且汝多病，年又极小，上无亲母教养，下无姊妹扶持。今去依傍外祖母及舅氏姊妹，正好减我内顾之忧，如何不去？”黛玉听了，方洒泪拜别，随了奶娘及荣府中几个老妇登舟而去。雨村另有船只，带了两个小童，依附黛玉而行。
You are sick, you are young, you have no mother to nurse you, and no sisters to nurse you. Now I am going to my grandmother and my uncle and sisters, which will relieve my worries. Why not?" When Mascara Jade Forest heard this, she said goodbye with tears and followed the wet nurse and some old women in the Rong House to the boat. Yucun had another boat with two children attached to Mascara Jade Forest.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:25, 19 December 2021 (UTC)
----

And you are sick, very young, no mother to raise, no sister support. Today I go to rely on my grandmother and uncle's sisters, just to reduce my internal worries, how not to go? Dai Yu listened, and Fang shed tears to say goodbye, and followed the grandmother and several old women in the Rong Mansion to board the boat. There was another boat in the rain village, with two children, who were attached to Daiyu.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:29, 19 December 2021 (UTC)

==李怡 Lǐ Yí 法语语言文学女 202120081504==

一日到了京都，雨村先整了衣冠，带着童仆，拿了宗侄的名帖，至荣府门上投了。彼时贾政已看了妹丈之书，即忙请入相会。见雨村相貌魁伟，言谈不俗；且这贾政最喜的是读书人，礼贤下士，拯溺救危，大有祖风；况又系妹丈致意：因此优待雨村，更又不同。
One day, when Rainvillage Merchant arrived in Jingdou, he dressed himself, and went to Rongfu with his nephew's name card. At this time Master Jia had seen his brother-in-law's letter, immediately invited him to come in to meet. Rainvillage Merchant looked tall and handsome and talked well. And Master Jia most like scholar, courtesy, saving, great predecessors style; Therefore, Master Jia is very good to Rainvillage Merchant. He is different from others.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 08:18, 11 December 2021 (UTC)

One day, when Rainvillage Merchant arrived in Jingdou, he dressed himself, and went to Rongfu with his nephew's name card. At the very moment that Master Jia had received his brother-in-law's letter, he immediately invited him to come in to meet. Rainvillage Merchant looked tall and handsome and talked well. And Master Jia most like scholar, courtesy, saving, great predecessors style; Therefore, Master Jia is very good to Rainvillage Merchant. He is different from others--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:39, 19 December 2021 (UTC)

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

便极力帮助，题奏之日，谋了一个复职。不上两月，便选了金陵应天府，辞了贾政，择日到任去了，不在话下。且说黛玉自那日弃舟登岸时，便有荣府打发轿子并拉行李车辆伺候。这黛玉尝听得母亲说，他外祖母家与别人家不同

They tried to help, the day of the title, sought a reinstatement. Within two months, he was elected to Jinling Yingtianfu, resigned from Jia Zheng, and left for his post on a certain day. Now, when Mascara Jade abandoned her boat and landed on the shore that day, she was served by a sedan chair sent by the Rongfu and a luggage cart. Mascara Jade heard from her mother that her grandmother's family was different from others.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:40, 19 December 2021 (UTC)

They sought to a position the day that he presented a petition to the throne. Within two months, he was elected to Jinling Mansion, resigned from Master Merchant，and left for his post on a certain day. Now, when Mascara Jade disembarked that day, she was served by a sedan chair sent by the Rongguo Mansion and a luggage cart. Mascara Jade heard from her mother that her grandmother's family was different from others.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:44, 19 December 2021 (UTC)

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

他近日所见的这几个三等的仆妇，吃穿用度，已是不凡；何况今至其家，都要步步留心，时时在意，不要多说一句话，不可多行一步路，恐被人耻笑了去。自上了轿，进了城，从纱窗中瞧了一瞧，其街市之繁华，人烟之阜盛，自非别处可比。

In the past few days, she has been deeply impressed by the food, clothing and behavior of the low- ranking attendants who accompanied her. She decided that in their new home, she must always be vigilant and carefully weigh every word so as not to be ridiculed for any stupid mistake. When she carried into the city, she peeped out through the gauze window on her chair at the bustling and crowded streets, which she had never seen before.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 08:32, 11 December 2021 (UTC)

The three-class servants she had seen recently have an extraordinary cost of food and clothing. What's more, since got on the sedan chair and entered the city, the prosperous market and the populousness of the city through the screen window were not comparable to other places. when coming to grandmother's mansion must pay attention to every step and be cautious with words so as not to be ridiculed by others. Daiyu thought. --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:56, 12 December 2021 (UTC)Liu Wei

==刘薇 Liú Wēi 国别女 202120081507==

又行了半日，忽见街北蹲着两个大石狮子，三间兽头大门，门前列坐着十来个华冠丽服之人。正门不开，只东、西两角门有人出入。正门之上有一匾，匾上大书“敕造宁国府”五个大字。黛玉想道：“这是外祖的长房了。”

After half day, there are two large stone lions squatting on the north side of the street, three gates decorated with beast head, and a dozen people in gorgeous crowns and clothes are sitting in front of the gate. The main gate is closing, only the east and west corners enterences are accessible. There is a plaque above the main gate with five big characters "Ningguo Mansion". "That must be grandfather's the first son's mansion."Daiyu thought. --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:39, 12 December 2021 (UTC)Liu Wei

After another half-day walk, they came to a street with two huge stone lions crouching on the north side and three gates decorated with beast head, in front of which ten or more people in gorgeous crowns and clothes were sitting. The main gate was shut, with only people passing in and out of the other two smaller gates. On a board above the main gate was written in big characters "Ningguo Mansion Built at Imperial Command". Daiyu realized that this must be where the elder branch of her grandmather's family lived.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:40, 13 December 2021 (UTC)

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

又往西不远，照样也是三间大门，方是荣国府，却不进正门，只由西角门而进。轿子抬着走了一箭之远，将转弯时便歇了轿，后面的婆子也都下来了。另换了四个眉目秀洁的十七八岁的小厮上来抬着轿子，众婆子步下跟随。

A little further to the west they came to another three gates. This was the Rong Mansion. Instead of going through the main gate, they entered the one on the west. The bearers carried the chair a bow-shot further, and then set it down at the turning and withdrew, the maidservants now going down the chair. Another four seventeen or eighteen smartly dressed lads picked up the chair, followed by the maids.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:09, 12 December 2021 (UTC)

Not far to the west is the same three-room gate, which is the Rongguo Mansion. Instead of going through the main gate, they entered the one on the west. The bearers carried the chair a bow-shot further, and then set it down at the turning and withdrew, the maidservants now going down the chair. Another four seventeen or eighteen smartly dressed lads picked up the chair, followed by the maids.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:26, 12 December 2021 (UTC)

==刘越 Liú Yuè 亚非语言文学女 202120081509==

至一垂花门前落下，那小厮俱肃然退出。众婆子上前打起轿帘，扶黛玉下了轿。黛玉扶着婆子的手，进了垂花门，两边是超手游廊，正中是穿堂，当地放着一个紫檀架子大理石屏风。转过屏风，小小三间厅房。

When the palanquin was dropped in front of a pendant door, the attendants all retired in silence. The ladies came forward and raised the curtain of the palanquin and helped Daiyu out of the palanquin. The two sides of the door are overhand corridors, and the centre is a hall with a marble screen on a rosewood frame. Turning past the screen, there is a small three-room hall.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:22, 12 December 2021 (UTC)

After the palanquin was dropped in front of a floral-pendant gates, the attendants all retreated in silence. The maids came forward and drew the curtain of the palanquin to help Mascara Jade Forest out of the palanquin. Holding the hands of those maids, Black Jade enter the floral-pendant gates. On the two sides of the door were Chaoshou veranda, and in the center was a vestibule with a marble screen in a rosewood frame. Past the screen, there were three small rooms. --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 13:01, 19 December 2021 (UTC)

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

厅后便是正房大院：正面五间上房，皆是雕梁画栋；两边穿山游廊、厢房，挂着各色鹦鹉、画眉等雀鸟。台阶上坐着几个穿红着绿的丫头，一见他们来了，都笑迎上来道：“刚才老太太还念诵呢，可巧就来了。”于是三四人争着打帘子。一面听得人说：“林姑娘来了。”

Behind the banqueting hall was the courtyard of the principal rooms: the five principal rooms on the front all had carved beams and painted rafters; from the roof of the verandah on both sides, the cages of parrots, thrushes and various birds hung there. A few girls in red and green sat on the steps. Saw they coming, the girls all smiled and came up: “Just now grandma was taking about you. You arrived just in time.” Then they rushed to pull the curtain. From the other side, a man said: “Miss Forest is coming.”--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 12:28, 19 December 2021 (UTC)

Behind the hall was the courtyard of the central house: five principal rooms in the front with carved beams, while along two sides corridors and chambers with colorfully painted birds as parrots and thrush. There were several maids in red and green sitting on the steps. Seeing visitors coming, they greeted them with smiles, saying, "The old lady just talked about you again and again in anticipation, and here you are." then the four maids scrambled to open the curtain. Meanwhile a man said, "Miss Forest is coming."--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 12:47, 19 December 2021 (UTC)

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

黛玉方进房，只见两个人扶着一位鬓发如银的老母迎上来。黛玉知是外祖母了，正欲下拜，早被外祖母抱住，搂入怀中，“心肝儿肉”叫着大哭起来。当下侍立之人无不下泪，黛玉也哭个不休。众人慢慢解劝，那黛玉方拜见了外祖母。
An silver-haired old lady supported by two maids came and welcomed her while Mascara Jade entered the room. Realizing that this was her grandmother, she was about to bow down to show her respects. Suddenly she was tightly hugged by grandmoa who crying out harrowingly "my sweet heart!" Servants and maids were all in tears, and Black Jade also sobbed unceasingly. People persuaded them softly, then Mascara Jade was able to pay her respects to her grandmother. --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 12:14, 19 December 2021 (U

As Dai Yu just came to the home, there came a silver-haired old woman.Dai Yu knew she was grandma, and as she was going to bow down to show her respect, she has been already hugged by her grandma, who cried:"my sweety!". The surrounding maids all cried, as well as Dai Yu. The crowds slowy persuade her, and Dai Yu then showed her respect to her grandma.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 14:01, 19 December 2021 (UTC)

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

贾母方一一指与黛玉道：“这是你大舅母。这是二舅母。这是你先前珠大哥的媳妇珠大嫂子。”黛玉一一拜见。贾母又说：“请姑娘们。今日远客来了，可以不必上学去。”众人答应了一声，便去了两个。

Baoyu's grandmother than introduce them respectively:"This is your eldest aunt, and this is your second aunt.This is your Zhu brother's wife. Dai Yu greet them one by one.Baoyu's grandmother than said that:"Invite the gilrs. Today here come the dear guest, so they don't need to go to school." Surrounding people said yes, and two of them left.

The Lady Dowager then introduced them respectively to Daiyu: "This is your eldest aunt, and this is your second uncle's wife. This is your deceased elder brother Zhu's wife." Daiyu greeted them one by one. Her grandmother then said: "Tell all the girls to come here. We have visitor who came from afar, so they don't need to go to school." Surrounding people answered yes, and two of them left to call them.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:22, 20 December 2021 (UTC)

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

不一时，只见三个奶妈并五六个丫鬟，拥着三位姑娘来了：第一个肌肤微丰，身材合中，腮凝新荔，鼻腻鹅脂，温柔沉默，观之可亲；第二个削肩细腰，长挑身材，鸭蛋脸儿，俊眼修眉，顾盼神飞，文彩精华，见之忘俗；

In a little while, three grannies and five or six servant girls turned up, clustering with three ladies. The first was somewhere plump in figure and of average height; her cheek was in beautiful shape, like a fresh lichee; her nose was glossy like the goose grease; she was gentle and quiet in nature, who looks very friendly. The second was thin and tall with an oval face, sparking eyes and long eyebrows; her elegance and quick-witted mind tickle people’s fancy, letting them forget everything vulgar.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 08:11, 11 December 2021 (UTC)

After a while, the three young ladies showed up, escorted by three wet nurses and five or six maids. The first was slightly plump and of medium height; her cheeks were as smooth and soft as the newly ripened lichees, and her nose was as glossy as goose fat. She was tender and reticent, and looked very affable. The second had drooping shoulders and a slender waist; she was tall and slim, with an oval face, bright and piercing eyes as well as delicate eyebrows. She seemed elegant, quick-witted and in high spirits, with a display of distinctive charm. People who looked at her were to forget everything vulgar and tawdry.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 23:42, 11 December 2021 (UTC)

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

第三个身量未足，形容尚小：其钗环裙袄，三人皆是一样的妆束。黛玉忙起身，迎上来见礼，互相厮认，归了坐位。丫鬟送上茶来。不过叙些黛玉之母如何得病，如何请医服药，如何送死发丧。不免贾母又伤感起来，因说：“我这些女孩儿，所疼的独有你母亲。

The third one was not yet fully grown, and she still had the face of a child. All the three young ladies were dressed in similar garments, that is, the tunics and the skirts with the same bracelets and head ornaments. Mascara Jade Forest hastily rose to greet politely these cousins, and then they introduced to and acquainted with each other, after which they took seats while the maids served the tea. All their talk now was about Mascara Jade Forest's mother: the culprit for her illness, the medicine that the doctors prescribed for treating her disease, and the conduction of her funeral and mourning ceremonies. Inevitably, Grandma Merchant couldn't help being affected painfully. "Of all my chilren I loved your mother best," she told Mascara Jade.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 07:49, 11 December 2021 (UTC)

==毛优 Máo Yōu 俄语语言文学女 202120081515==

今一旦先我而亡，不得见面，怎不伤心！”说着，携了黛玉的手，又哭起来。众人都忙相劝慰，方略略止住。众人见黛玉年纪虽小，其举止言谈不俗；身体面貌虽弱不胜衣，却有一段风流态度，便知他有不足之症。

Once she died before me, I could not see her again. She said, taking Mascara Jade Forest's hand, and cried again. Everyone was busy trying to console her, and soon she slightly stopped. They saw that although Mascara Jade Forest was young, her manner and speech were not ordinary; although her health was weak, she had graceful and elegant manner, so they knew that she had a disease of deficiency.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 08:43, 11 December 2021 (UTC)

"Once she died before me, it is so sad that I could not see her again." she said, taking Mascara Jade Forest's hand, and cried again. Everyone was trying to console her, and then she slightly stopped. They saw that although Mascara Jade Forest was young, her manner and speech were not ordinary; although she was weak, she had graceful and elegant gestures, so they learned that she had a disease of deficiency.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:35, 12 December 2021 (UTC)

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

因问：“常服何药？为何不治好了？”黛玉道：“我自来如此，从会吃饭时便吃药到如今了，经过多少名医，总未见效。那一年我才三岁，记得来了一个癞头和尚，说要化我去出家，我父母自是不从。

So they asked:" What medicine do you usually take? Why doesn't it work?" Mascara Jade Forest replied:" I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous daocters cannot contribute to my illness.When I was three years old, a monk with favus on the head came to persuade me to become a nun,but my parents declined him.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 08:07, 11 December 2021 (UTC)

They then asked, "What medicines do you take regularly? Why can't you cure your illness?" Mascara Jade Forest, "I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous docters cannot contribute to my illness. I was only three years old when I remember a mangy monk came and said he wanted to convert me to a monk, but my parents refused.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:29, 13 December 2021 (UTC)

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

他又说：‘既舍不得他，但只怕他的病，一生也不能好的；若要好时，除非从此以后，总不许见哭声，除父母之外，凡有外亲，一概不见，方可平安了此一生。’这和尚疯疯癫癫，说了这些不经之谈，也没人理他。

The monk said, "if you can't bear to part with her she'll probably nerver get well. The only remedy is to keep her from hearing weeping and from seeing any relatives apart from her father and mother. That's her only hope of having a quiet life." No one paid any attention, of course, to such crazy talk.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:24, 13 December 2021 (UTC)

The monk said, "if you can't bear to separate with her, she'll probably nerver get well. The only remedy is to keep her from hearing weeping and from seeing any relatives apart from her father and mother. That's her only hope of having a quiet life." No one paid any attention, of course, to such nonsense talk.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 12:12, 19 December 2021 (UTC)

[[Media:Example.ogg]]==秦建安 Qín Jiànān 外国语言学及应用语言学女 202120081518==

如今还是吃人参养荣丸。”贾母道：“这正好，我这里正配丸药呢，叫他们多配一料就是了。”一语未完，只听后院中有笑语声，说：“我来迟了，没得迎接远客。”黛玉思忖道：“这些人个个皆敛声屏气如此，这来者是谁，这样放诞无礼？”

Now Mascara Jade Forest is still taking ginseng pills.And Grandma Merchant said:" What a coincidence! The pills are making now, I just tell them to add one." The words have not been finished, but there is a laugh in the back yard, which said:" I come late and fail to welcome our distinguished guest." Mascara Jade Forest thought: all people here are holding their breath, who is this person that is so arrogant and rude?--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 08:19, 11 December 2021 (UTC)

Now Lin Daiyu is still taking ginseng pills. And Grandma Merchant said:" It just so happens that I have been asking them to dispense the pills, just asking them to do one more portion." The words are not finished, but there is a laugh in the back yard, which said:" I am late and fail to welcome our distinguished guest." Mascara Jade Forest thought: “all people here are holding their breath, who is this person that is so arrogant and rude?”--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 09:33, 12 December 2021 (UTC)

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

心下想时，只见一群媳妇、丫鬟拥着一个丽人，从后房进来。这个人打扮与姑娘们不同，彩绣辉煌，恍若神妃仙子：头上戴着金丝八宝攒珠髻，绾着朝阳五凤挂珠钗；项上戴着赤金盘螭缨络圈；身上穿着缕金百蝶穿花大红云缎窄褃袄，外罩五彩刻丝石青银鼠褂；

While Mascara Jade Forest is still thinking about it, a group of daughters-in-law and maids cluster around a beauty coming in from the back room. She dresses up differently from other girls, with colorful embroidery splendor, and looks like a divine concubine or a fairy: wearing a gold silk beads bun decorated with eight treasures and the five phoenix hairpin hanging with beads on the head; a red gold coiled chi dragon tassel ring around the neck; the bright red made of cloud satin material narrow lining cotton jacket with decorations of wisps of gold hundred butterflies and flowers, and the outer coat with decorations of the multicolored engraved silk stone green silver mouse. --[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 09:34, 12 December 2021 (UTC)

Mascara Jade Forest was still thinking about it when she saw a group of daughters-in-law and maids embracing a beautiful woman who came in from the back room. This woman dresses differently from the girls, with colorful embroidery splendor, and looks like a divine concubine fairy: wearing a gold silk eight treasure save beads bun and the sunrise five phoenix hanging beads hairpin on the head; a red gold coiled chi dragon tassel ring around the neck; wearing the bright red made of cloud satin material narrow lining cotton jacket with decorations of wisps of gold hundred butterflies and flowers, and the outer coat with decorations of the multicolored engraved silk stone green silver mouse.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:47, 11 December 2021 (UTC)

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

下着翡翠撒花洋绉裙。一双丹凤三角眼，两弯柳叶吊梢眉。身量苗条，体格风骚。粉面含春威不露，丹唇未启笑先闻。黛玉连忙起身接见。贾母笑道：“你不认得他。他是我们这里有名的一个泼辣货，南京所谓‘辣子’，你只叫他‘凤辣子’就是了。”

Splendid Pheonix King wore a jadeite flowered dress underneath, with a pair of phoenix triangle eyes and two curved willow hanging eyebrows. Her figure is slim and her physique is flirtatious. She can be described with “ the face is delicate and beautiful, spirited character of her is not revealed in the appearance, red lips beautiful, not yet open mouth first heard her laugh”. Mascara Jade Forest hastily got up to curtsy to her. Grandma Merchant said with a smile, "You do not recognize her. She is famous for her boldness and vigorousness here, she is truly the 'chilli woman' in Nanjing dialect, you can just call her ' chilli Feng'."--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:35, 11 December 2021 (UTC)

Splendid Pheonix King, characterized by a pair of phoenix triangle eyes and two curved willow hanging eyebrows, wore an emerald flowered crepe skirt. She was slender and coquettish, with a delicate face and a smiling lip. Mascara Jade Forest promptly rose quickly to greet her. Grandma Merchant said with a smile: “ you don’t know him. He is famous for her fierceness and toughness, namely the so-called Nanjing chilli. So you can just call him ‘Chilli Pheonix’.”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:48, 11 December 2021 (UTC)

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

黛玉正不知以何称呼，众姊妹都忙告诉黛玉道：“这是琏二嫂子。”黛玉虽不曾识面，听见他母亲说过：大舅贾赦之子贾琏，娶的就是二舅母王氏的内侄女，自幼假充男儿教养，叫做王熙凤学名。黛玉忙陪笑见礼，以“嫂”呼之。

Mascara Jade Forest was insensible of what to call her. Then her sisters told her promptly: “ this is your sister-in-law Romance Second Merchant.” Although Mascara Jade Forest had never met her, she heard of her from his mother: Romance Merchant, the son of her Uncle Pardon Merchant, had married the niece of Aunt King, named scientifically Splendid Phoenix King, was brought up as a male offspring since childhood. Mascara Jade Forest was engaged in smiling and saluting at her, calling her “sister-in-law”.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:32, 11 December 2021 (UTC)

Mascara Jade Forest didn't know what to call her. Then her sisters told her promptly: “This is your sister-in-law Romance Second Merchant.” Although Mascara Jade Forest had never met her, she heard of her from his mother: Romance Merchant, the son of her Uncle Pardon Merchant, had married the niece of Aunt King,named scientifically Splendid Phoenix King,was brought up as a male offspring since childhood. Mascara Jade Forest was engaged in smiling and saluting at her, calling her “sister-in-law”.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:55, 13 December 2021 (UTC)

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

这熙凤携着黛玉的手，上下细细打量了一回，便仍送至贾母身边坐下，因笑道：“天下真有这样标致人儿！我今日才算看见了。况且这通身的气派，竟不像老祖宗的外孙女儿，竟是嫡亲的孙女儿似的，怨不得老祖宗天天嘴里心里放不下。

Taking Mascara Jade Forest's hand, Splendid Phoenix King looked up and down her carefully, then she sent her toGrandma Merchant's side to sit down.She laughed and said:"There is really such a beautiful person in the world!I didn't see her until today.Moreover,the style of her makes her be more like your son's daughter than your daughter's daughter.It's no wonder that you are concerned about her so much.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:49, 13 December 2021 (UTC)

Taking Mascara Jade Forest's hand, Splendid Phoenix King looked her up and down carefully, then sent her to Grandma Merchant's side to sit down. She laughed and said:"There is really such a beautiful person in the world! I haven’t seen her until today. Moreover, her extraordinary temperament makes her be more like your son's daughter rather than your daughter's daughter. It's no wonder that you are concerned about her so much. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 06:48, 13 December 2021 (UTC)

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

只可怜我这妹妹这么命苦，怎么姑妈偏就去世了呢？”说着便用帕拭泪。贾母笑道：“我才好了，你又来招我；你妹妹远路才来，身子又弱，也才劝住了：快别再提了。”

I pity my sister for being so miserable, how could my aunt died so early?" She said, wiping her tears with her handkerchief. Grandma Merchant laughed and said, "I've just recovered. You come to provoke me again. Your sister has just arrived from a long journey and is weak, so she has just been persuaded: Don't mention it again."--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 02:37, 12 December 2021 (UTC)

I pity my sister who is so miserable, how could my aunt have died?" She said, wiping her tears with her handkerchief. Your sister has only just arrived from a long journey and is weak, so she has only just been persuaded to stop talking about it."--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:22, 11 December 2021 (UTC)

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

熙凤听了，忙转悲为喜道：“正是呢，我一见了妹妹，一心都在他身上，又是喜欢，又是伤心，竟忘了老祖宗了。该打，该打！”又忙拉着黛玉的手问道：“妹妹几岁了？可也上过学？现吃什么药？在这里别想家。

The first time I saw my sister, I was all over him, and I liked him, and I was sad, and I forgot about my ancestors. You should be beaten, you should be beaten!" He also took Daiyu's hand and asked, "How old is my sister? How old is she? What kind of medicine do you take now? Don't be homesick here.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:21, 11 December 2021 (UTC)

The first time I saw my sister, I was all over him, and I liked him, and I was sad, and I forgot about my ancestors. You should be beaten, you should be beaten!" He also took Daiyu's hand and asked, "How old is my sister? How old is she? What kind of medicine do you take now? Don't be homesick here.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:14, 22 December 2021 (UTC)

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

要什么吃的，什么玩的，只管告诉我；丫头、老婆们不好，也只管告诉我。”黛玉一一答应。一面熙凤又问人：“林姑娘的东西可搬进来了？带了几个人来？你们赶早打扫两间屋子，叫他们歇歇儿去。”

Just tell me what you want to eat and play; Girls and old servants are not good, just tell me. " Daiyu nodded one by one. On one side, Xifeng asked, "have you moved in Miss Lin's things? How many people have you brought? Clean the two rooms early and tell them to have a rest."--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 06:54, 12 December 2021 (UTC)

Tell me what you want to eat and play; And if the maids or old nurses aren't good to you, just let me know. " Mascara Jade Forest nodded one by one. At the same time, Splendid Phoenix asked, "Have Miss Forest's things been moved in? And how many people does she bring? Clean the two rooms as soon as possible and tell them to have a rest there."--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 08:24, 12 December 2021 (UTC)

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

说话时已摆了果茶上来，熙凤亲自布让。又见二舅母问他：“月钱放完了没有？”熙凤道：“放完了。刚才带了人到后楼上找缎子，找了半日，也没见昨儿太太说的那个。想必太太记错了。”王夫人道：“有没有，什么要紧！”

Fruits and tea had been prepared when Splendid Phoenix was talking, and she arranged them by herself. Lady King asked her whether the monthly payment has been given out, she answered yes. “I looked for the satin in the back stairs with some people for hours just now, but didn’t find which madam mentioned yesterday. Madam must be wrong.” Splendid Phoenix King said, and Lady King answered, “ It doesn’t matter if there is or not.”--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 07:45, 12 December 2021 (UTC)

Fruits and tea had been prepared when Xifeng was talking, and she arranged them by herself. The second aunt asked her, "Have the monthly payment been given out?" Xifeng answered, "Yes. And I looked for the satin in the back stairs with some people for hours just now, but didn’t find what madam mentioned yesterday. Madam mabey remember something wrong.” Mrs. Wang replied, “ It doesn’t matter if there is or not.”--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 09:03, 12 December 2021 (UTC)

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

因又说道：“该随手拿出两个来，给你这妹妹裁衣裳啊。等晚上想着，再叫人去拿罢。”熙凤道：“我倒先料着了，知道妹妹这两日必到，我已经预备下了。等太太回去过了目，好送来。”

Mrs. Wang said, "You should take out a couple of satin pieces to cut your sister's dress. When you think of this matter in the evening, send someone for the satin ." Xifeng said, "I expected it. I knew my sister would arrive in these two days, and I had already made preparations. I will send someone for the satin as soon as you have returned and examined it."--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 08:52, 12 December 2021 (UTC)

Lady King added, "You should take out a couple of satin pieces to cut your sister's dress. When you think of this in the evening, send someone for the satin ." Splendid Phoenix King said, "I have expected it. I know my sister will arrive in these two days, and I have already made preparations. I will send someone for the satin as soon as you have examined it."--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:58, 12 December 2021 (UTC)

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

王夫人一笑，点头不语。当下茶果已撤，贾母命两个老嬷嬷带黛玉去见两个舅舅去。维时贾赦之妻邢氏忙起身笑回道：“我带了外甥女儿过去，到底便宜些。”

Lady King smiled, nodded and said nothing. Now the refreshments were cleared away and the Grandma Merchant ordered Nanny Walk and Nanny Woodhouse to take Mascara Jade Forest to see her two uncles. At this time, Lady City, the wife of Pardon Merchant also immediately stood up, replied with smile, "it's also very convenient for me to take my niece."--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:51, 11 December 2021 (UTC)

Her Lady City smiled, nodded but said nothing. Now the refreshments were cleared away and the Lady Dowager ordered two mothers to take Mascara Jade Forest to see her two uncles. At this time, Lady Xing immediately stood up, replied with a smile, "it's also very convenient for me to take my niece."--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 08:37, 12 December 2021 (UTC)

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

贾母笑道：“正是呢，你也去罢，不必过来了。”那邢夫人答应了，遂带着黛玉，和王夫人作辞，大家送至穿堂。垂花门前早有众小厮拉过一辆翠幄青油车来，邢夫人携了黛玉坐上，众老婆们放下车帘，方命小厮们抬起。

Grandma Merchant laughed and said: “ Yeah, you can also leave, and don’t have to come here.” Lady City promised, and said goodbye to Lady King with Mascara Jade Forest , all of them went through the hallway. The ingenious green carriage, which drove by a group of manservants stood in front of the floral-pendant gates, Lady City set in the car with Mascara Jade Forest, several old mothers put down the car shade, instructing boys uplift the carriage. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 08:35, 12 December 2021 (UTC)

The mother laughed and said, "Exactly, you also go, no need to come." That Mrs. Xing agreed, so took Daiyu, and Mrs. Wang to say goodbye, we sent to the wear hall. The tent green oil carriage in front of the flower gate, Mrs. Xing took Daiyu to sit on it, the wives put down the curtain, and ordered the boys to lift it.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 01:13, 13 December 2021 (UTC)

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

拉至宽处，驾上驯骡，出了西角门往东，过荣府正门，入一黑油漆大门内，至仪门前方下了车。邢夫人挽着黛玉的手进入院中。黛玉度其处必是荣府中之花园隔断过来的。
Pulled to a wide place, driving on the tame mule, out of the west corner gate to the east, past the main gate of Rongfu, into a black-painted gate, to the front of the ceremony door down the car. Mrs. Xing took Daiyu's hand and entered the courtyard. The first thing you need to do is to get to the garden.

Then he took the mule，went out the west Corner gate to the east, passed the main gate of Rongfu, entered a black painted gate, and got off in front of Yi gate. Lady Xing took Daiyu's hand and entered the courtyard. Daiyu spent its place must be the garden in the rong mansion partition come over.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 01:38, 15 December 2021 (UTC)

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

进入三层仪门，果见正房、厢房、游廊悉皆小巧别致，不似那边的轩峻壮丽，且院中随处之树木山石皆好。及进入正室，早有许多艳妆丽服之姬妾、丫鬟迎着。邢夫人让黛玉坐了；一面令人到外书房中请贾赦。

When we entered the three-story ceremonial gate, the main room, wing room and verandah were all small and unique, unlike those of the other side. Besides, the trees, mountains and stones in the courtyard were all good. When they entered the main room, there were many concubines and servant girls dressed in colourful makeup and beautiful clothes waiting for them. Lady City asked Mascarra Jade to sit down and then let others invite Pardon Merchant in the outer study.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 01:02, 15 December 2021 (UTC)

When entering the three- layers ceremonial gate, Daiyu found that the main room, wing room and verandah were all small and unique, unlike those of the other side. Besides, the trees, mountains and stones in the courtyard were all good. When they entered the main room, there were many concubines and servant girls dressed in heavy makeup and beautiful clothes waiting for them. Madam Xing asked Daiyu to sit down and then let others invite Jia She in the outer study.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 12:10, 19 December 2021 (UTC)

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

一时回来说：“老爷说了：‘连日身上不好，见了姑娘，彼此伤心，暂且不忍相见。劝姑娘不必伤怀想家，跟着老太太和舅母，是和家里一样的。姐妹们虽拙，大家一处作伴，也可以解些烦闷。或有委屈之处，只管说，别外道了才是。’”

Mrs.Xing came back and said, "the master said, 'I've been felt not so good for days. I am afraid that I will be emotional if I see you, so I can't bear to see you for the time being. I advise you not to be homesick. It's the same as home to follow the old lady and aunt. Although the sisters are clumsy, you can relieve some boredom if you keep company together. If you have grievances, just tell us and make yourself at home.''--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 12:07, 19 December 2021 (UTC)

Mrs.Xing came back and said, "the master said, 'I've been felt not so good for days. I am afraid that I will be emotional if I see you, so I can't bear to see you for the time being. I advise you not to be homesick. It's the same as home to follow the old lady and aunt. Although the sisters are clumsy, you can relieve some boredom if you keep company together. If you have grievances, just tell us and make yourself at home.''--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:45, 20 December 2021 (UTC)

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

黛玉忙站起身来，一一答应了。再坐一刻便告辞，邢夫人苦留吃过饭去。黛玉笑回道：“舅母爱惜赐饭，原不应辞；只是还要过去拜见二舅舅，恐去迟了不恭，异日再领。望舅母容谅。”

Daiyu stood up and agreed one by one. Sitting for a moment and then said goodbye, Mrs. Xing painstakingly stay to eat a meal. Daiyu smile back: "aunt love to give rice, should not resign; just have to go over to see second uncle, afraid to go late disrespectful, another day to receive. I hope aunt forgive me."--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:44, 20 December 2021 (UTC)

Mascara Jade Forest stood up and agreed one by one. Sitting for a moment and then said goodbye, Lady City painstakingly stay to eat a meal. Mascara Jade Forest smile back: "aunt love to give rice, should not resign; just have to go over to see second uncle, afraid to go late disrespectful, another day to receive. I hope aunt forgive me.

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

邢夫人道：“这也罢了。”遂命两个嬷嬷用方才坐来的车送过去。于是黛玉告辞。邢夫人送至仪门前，又嘱咐了众人几句，眼看着车去了方回来。一时黛玉进入荣府，下了车，只见一条大甬路直接出大门来。

Lady City said: “That’s fine.” So she ordered two Sisters to send Mascara Jade Forest back by Carriage used before. So Mascara Jade Forest farewell others. Lady City saw her off and said some words to others, seeing the carriage come back and forth. Once Daiyu entered The House of Rong and got off the carriage, she saw a long and wide road.

Lady City said: “That’s fine.” So she ordered two Sisters to send Mascara Jade Forest back by Carriage used before. So Mascara Jade Forest farewell others. Lady City saw her off to the gate of etiquetteand said some words to others, seeing the carriage come back and forth. Once Daiyu entered The House of Rong and got off the carriage, she saw a long and wide road.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:26, 20 December 2021 (UTC)

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

众嬷嬷引着，便往东转弯，走过一座东西穿堂，向南大厅之后，仪门内大院落：上面五间大正房，两边厢房，鹿顶耳房钻山，四通八达，轩昂壮丽，比各处不同。黛玉便知这方是正内室。

Led by the mammy, she turned east, passed through an east-west hall, and came to the south hall, where she found a large courtyard inside the Gate of Yi: five main rooms on the top, flanks on both sides, and deer's roof and ears, extending in all directions, magnificent and different from other places. Daiyu knew this was the inner room.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 09:10, 18 December 2021 (UTC)

Led by the mammies, they turned eastward and passed through an east-west hallway and the southward hall, she found a large courtyard inside the secondary gate: five main rooms on the top, flanks on both sides, and a small flat topped house next to the main house, extending in all directions, magnificent and different from other places. Daiyu knew this was the inner room.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 10:08, 18 December 2021 (UTC)

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

进入堂屋，抬头迎面先见一个赤金九龙青地大匾，匾上写着斗大三个字，是“荣禧堂”；后有一行小字：“某年月日书赐荣国公贾源”，又有“万幾宸翰”之宝。大紫檀雕螭案上，设着三尺多高青绿古铜鼎，悬着待漏随朝墨龙大画，一边是錾金彝，一边是玻璃盆。

Entering the main room, I looked up and saw a great blue board framed in gilded dragons. On the plaque, there were two big words "Jubilee Hall"; Then there is a line of small characters: "on a certain date, this was given to Source Merchant, the Duke of Honor", and there was the treasure of Emperor's handwriting. On the large red sandalwood table that carved with dragon, there was a green bronze tripod more than three feet high, hanging a large ink dragon painting that seemed to attend the imperial court session in the early morning, with gilded wine vessels on one side and a glass basin on the other.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 08:11, 18 December 2021 (UTC)

there was a green bronze tripod more than three feet high, hanging a large ink dragon painting that seemed to attend the imperial court session in the early morning, with gilded wine vessels on one side and a glass basin on the other.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 12:05, 19 December 2021 (UTC)

==颜莉莉 Yán Lìlì 国别女 202120081537==

地下两溜十六张楠木圈椅。又有一副对联，乃是乌木联牌镶着錾金字迹，道是：座上珠玑昭日月，堂前黼黻焕烟霞。下面一行小字是“世教弟勋袭东安郡王穆莳拜手书”。原来王夫人时常居坐宴息也不在这正室中，只在东边的三间耳房内。

On the ground two rows of 16 nanmu armchairs. There is also a pair of couplets, ebony couplet inset with gold handwriting, it said:The pearl and jade in the seat can shine with the sun and the moon; The people in front of the lobby wearing official clothes, its colors like clouds like clouds. The next line is written by Mu Shibai, the hereditary king of Dongpyeong County, who is a brother who has been taught by your family for generations.For Lady King often sat and reposed not in this main room, but in the three eastern rooms.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 03:36, 12 December 2021 (UTC)

Since Lady King seldom sat in this main hall but used three rooms on the east side for relaxation.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:04, 14 December 2021 (UTC)

==颜子涵 Yán Zǐhán 国别女 202120081538==

于是嬷嬷们引黛玉进东房门来。临窗大炕上铺着猩红洋毯，正面设着大红金钱蟒引枕，秋香色金钱蟒大条褥；两边设一对梅花式洋漆小几：左边几上摆着文王鼎，鼎旁匙箸、香盒；右边几上摆着汝窑美人觚，里面插着时鲜花草。

So that the nannies led Mascara Jade Forest through the door of the eastern wing. The large kang by the window was covered with a scarlet foreign rug. In the middle were red back-rests and turquoise bolsters, both with dragon-design medallions, and a long greenish yellow mattress also with dragon medallions. On the two sides， stood one of a pair of small teapoys of foreign lacquer of plum-blossom pattern. On the left-hand table were a tripod, spoons, chopsticks and an incense container; On the right-hand table were a slender-waisted porcelain vase from the Ruzhou Kiln in which were placed seasonable flowers.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 09:48, 14 December 2021 (UTC)

Thereupon,the nannies led Mascara Jade Forest through the door of the eastern wing. The large kang by the window was covered with a scarlet foreign rug. In the middle were red back-rests and turquoise bolsters, both with dragon-design medallions, and a long greenish yellow mattress also with dragon medallions. On the two sides stood on a pair of small teapoys of foreign lacquer of plum-blossom pattern. On the left-hand table were a tripod, spoons, chopsticks and an incense container; On the right-hand table were a slender-waisted porcelain vase from the Ruzhou Kiln in which were placed seasonable flowers.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:47, 14 December 2021 (UTC)

==阳佳颖 Yáng Jiāyǐng 国别女 202120081540==

地下面，西一溜四张大椅，都搭着银红撒花椅搭，底下四副脚踏；两边又有一对高几，几上茗碗、瓶花俱备。其馀陈设，不必细说。老嬷嬷让黛玉上炕坐。炕沿上却也有两个锦褥对设。

On the floor on the west side of the room, were four chairs in a row, all of which were covered with antimacassars, embroidered with silverish-red flowers.Beneath them stood four footstools. On either side, was also a pair of high teapoys which were covered with teacups and flower vases.The rest of the room need not be described in detail.
The nannies urged Mascara Jade Forest to sit on the kang, on the edge of which were two brocade cushions. --[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:42, 14 December 2021 (UTC)

On the floor facing on the west wall were four chairs in a row, all of which were covered with ornamented cloth embroidered with silverish-red flowers.Beneath them stood four footstools. On either side were a pair of high table with teacups and flower vases.Other decorations in the rest of the room need not be described in detail.The nannies urged Mascara Jade Forest to sit on the kang, on the edge of which were two brocade cushions.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 09:50, 18 December 2021 (UTC)

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

黛玉度其位次，便不上炕，只就东边椅上坐了。本房的丫鬟忙捧上茶来。黛玉一面吃了，打量这些丫鬟们妆饰衣裙，举止行动，果与别家不同。

Considering her status in the family, Daiyu sat on one of the chairs on the east side instead of sitting on the ''kang''. The maids in attendance served tea immediately. When she was sipping the tea, she observed the maids’ make-up,clothes and deportment, which, her thought, were indeed quite different from those in other families.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 09:38, 18 December 2021 (UTC)

Considering her status in the family, Mascara Jade sat on one of the chairs on the east side instead of sitting on the ''kang''. The maids in attendance served tea immediately.Sipping the tea, she observed the maids’ make-up,clothes and deportment, which, her thought, were indeed quite different from those in other families.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 14:18, 18 December 2021 (UTC)

==杨堃 Yáng Kūn 法语语言文学女 202120081542==

茶未吃了，只见一个穿红绫袄、青绸掐牙背心的一个丫鬟走来笑道：“太太说，请林姑娘到那边坐罢。”老嬷嬷听了，于是又引黛玉出来，到了东廊三间小正房内。

Before the tea was drunk, a servant girl wearing a red silk jacket and a green satin vest came up and smiled, "Lady King invited Miss Forest to come and sit over there." When the old Nanny heard this, she led Mascara Jade out again and went to the third small main room on the east porch.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:33, 12 December 2021 (UTC)

Before they drank tea over, a servant girl in a red silk jacket and a green satin vest came up and smiled, "Mrs. Wang invited Miss Lin to come and sit over there." When the old Mammy heard this, she led Daiyu out again to the third small main room on the east porch.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:10, 12 December 2021 (UTC)

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

正面炕上横设一张炕桌，上面堆着书籍、茶具；靠东壁面西设着半旧的青缎靠背、引枕。王夫人却坐在西边下首，亦是半旧青缎靠背、坐褥。见黛玉来了，便往东让。

On the kang there was a kang table on which books and tea sets piled up. Half new backrests and pillows made of blue satins were set on the east side of the wall. However, Mrs. Wang set at the foot of the west wall where half new backrests and mattresses made of blue satins were displayed. Mrs. Wang moved to the east side when she saw Lin Daiyu come in.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:11, 12 December 2021 (UTC)

On the kang lies a kang table,on which books and tea sets are piled up. Half new backrests and pillows made of blue satins were put on the east side of the wall. However, Mrs. Wang sat at the foot of the west wall where half new backrests and mattresses made of blue satins are displayed. Mrs. Wang moved to the east side when she saw Daiyu coming in.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 12:11, 19 December 2021 (UTC)

==叶维杰 Yè Wéijié 国别男 202120081544==

黛玉心中料定这是贾政之位。因见挨炕一溜三张椅子上也搭着半旧的弹花椅袱，黛玉便向椅上坐了。王夫人再三让他上炕，他方挨王夫人坐下。王夫人因说：“你舅舅今日斋戒去了，再见罢。

Daiyu thought it must be Jia Zhen's seat. Seeing that there were half-old bouncing chair blankets on the three chairs slid by the kang, Daiyu sat on the chair. Mrs. Wang repeatedly asked him to go to the kang, then she sat down next to Mrs. Wang. Mrs. Wang said: "Your uncle has gone fast today, goodbye.

Mascara Jade thought that this was Master Merchant's seat， because she saw that there were three chairs next to the bed with a half-used chair, so Mascara Jade sat down on the chair. She sat down next to Lady King after she had asked her to go to the bed again and again. Lady King said, "Your uncle went to fast today, see you later.”--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 12:29, 19 December 2021 (UTC)Yi Yangfan

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

只是有句话嘱咐你：你三个姐妹倒都极好，以后一处念书认字，学针线，或偶一玩笑，却都有个尽让的。我就只一件不放心：我有一个孽根祸胎，是家里的混世魔王，今日因往庙里还愿去，尚未回来，晚上你看见就知道了。

I just have one thing to tell you: your three sisters are all very good, and in the future they will study and learn to read and write together, and learn to sew, or occasionally play jokes, but all of them will do their best. There is only one thing I am not sure about: I have a sinful child who is the evil one in my family, and he has not returned yet because he has gone to the temple to pay his respects.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 02:19, 13 December 2021 (UTC)Yi Yangfan

I just want to remind you: your sisters are very kind , and in the future you will study together, and learn to read and write and learn to sew. Sometimes you will play jokes at each other, but you will be very tolerant to each other. There is only one thing I am worried about: there is a naughty boy in our family, and he has not returned yet because he has gone to the temple to redeem his wishes, you will see him in the evening.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 07:45, 13 December 2021 (UTC)

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

你以后总不用理会他，你这些姐姐妹妹都不敢沾惹他的。”黛玉素闻母亲说过：“有个内侄，乃衔玉而生，顽劣异常，不喜读书，最喜在内帏厮混。外祖母又溺爱，无人敢管。”

“You can ignore him later and none of your sisters dare to bother him. ” Daiyu heard from her mother: “I have a nephew, who was born with jade in his mouth. He is very naughty and don’t like to read, but prefer to play with girls. His grandma has always spoiled him so that everyone let him be. ”--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 07:27, 13 December 2021 (UTC)

"You can ignore him in future because none of your sisters dare to mess up with him". Mascara Jade has long heard from her mother about him: "I have a nephew, born with a jade in his mouth, who is very naughty and doesn’t like to read, but prefers to hang around with girls. His grandma has always spoiled him so that everyone let him be". --[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 12:31, 19 December 2021 (UTC)

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

今见王夫人所说，便知是这位表兄。一面陪笑道：“舅母所说，可是衔玉而生的？在家时，记得母亲常说：这位哥哥比我大一岁，小名就叫宝玉，性虽憨顽，说待姊妹们却是极好的。

What Lady King described today is the cousin for sure. Mascara Jade said while smiling:" Is the person you just mentioned my cousin born with a jade? I remember when I was at home my mother often said that the cousin nicknamed Precious Jade is one year older than me. Although he is a little mischievous, he is very friendly with his sisters".--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 14:27, 12 December 2021 (UTC)

Who Lady King described today is the cousin for sure. Mascara Jade said while smiling:" Is this my cousin you just mentioned born with a jade? I remember when I was at home my mother often said that the cousin nicknamed Precious Jade is one year older than me. Although he is a little mischievous, he is very friendly with his sisters".--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 12:06, 19 December 2021 (UTC)

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

况我来了，自然和姊妹们一处，弟兄们是另院别房，岂有沾惹之理？”王夫人笑道：“你不知道原故。他和别人不同，自幼因老太太疼爱，原系和姐妹们一处娇养惯了的。

Now I come here,undoubtfully I live with my sisters. The brothers are in some different houses. Is there any reason to mess with them?" Lady King smiled and said, "You don't know. Unlike the others, he had been coddled by his sisters since he was young for the love of Grandma Merchant.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 15:30, 13 December 2021 (UTC)

Now I come here,undoubtfully I live with my sisters. The brothers are in some different houses. Is there any reason to mess with them?" Lady King smiled and said, "You don't know the reason. Unlike others, he had been coddled by his sisters since he was young for the love of Grandma Merchant.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 03:20, 15 December 2021 (UTC)

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

若姐妹们不理他，他倒还安静些；若一日姐妹们和他多说了一句话，他心上一喜，便生出许多事来：所以嘱咐你别理会他。他嘴里一时甜言蜜语，一时有天没日，疯疯傻傻，只休信他。”黛玉一一的都答应着。

“If the sisters ignore him, he is a bit quieter: if one day the sisters talk to him more, he is so happy that he will stir up many troubles: so I tell you to ignore him. He may talk sweetly for a while, and he may be crazy and silly for a while, just don't believe him.” Daiyu replied one by one.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 08:45, 13 December 2021 (UTC)
If the sisters ignore him, he will be quiet; if one day they talk to him more, he will be happy, and many things will happen: so I tell you to ignore him. His mouth a sweet talk, a moment there is no day, crazy and silly, just do not believe him. Daiyu agreed one by one.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 12:06, 19 December 2021 (UTC)

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

忽见一个丫鬟来说：“老太太那里传晚饭了。”王夫人忙携了黛玉，出后房门，由后廊往西，出了角门，是一条南北甬路，南边是倒座三间小小抱厦厅，北边立着一个粉油大影壁，后有一个半大门，小小一所房屋。
Suddenly see a servant girl to say: "old lady there spread supper." Lady King and Mascara Jade Forest went out of the back door, leading from the back corridor to the west and out of the corner gate. There was a north-south corridor, with three small rooms in the south, a big screen wall of powder and oil in the north, and a small house with a half gate behind.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 13:53, 12 December 2021 (UTC)

Suddenly a servant girl said, "the old lady has passed on dinner." Lady King hurriedly took Mascara Jade Pearl out of the back door, from the back porch to the west, out of the corner door. It is a North-South corridor. In the south is the inverted three small balcony halls. In the north is a oil-powdered large shadow wall, followed by a half gate and a small house.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 12:28, 13 December 2021 (UTC)

==张扬 Zhāng Yáng 国别男 202120081551==

王夫人笑指向黛玉道：“这是你凤姐姐的屋子。回来你好往这里找他去，少什么东西，只管和他说就是了。”这院门上也有几个才总角的小厮，都垂手侍立。王夫人遂携黛玉穿过一个东西穿堂，便是贾母的后院了。

Lady King smiled at Mascara Jade Pearl and said: "This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her." On the gate of the courtyard, there were also several young boys who were only in their childhood, all standing with their hands down. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 07:30, 11 December 2021 (UTC)

Lady King smiled at Mascara Jade Pearl and said: "This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her." On the gate of the courtyard,there were also a few young boys on the door of this courtyard, all standing with their hands down.. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.

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

于是进入后房门，已有许多人在此伺候，见王夫人来，方安设桌椅；贾珠之妻李氏捧杯，熙凤安箸，王夫人进羹。贾母正面榻上独坐，两旁四张空椅。熙凤忙拉黛玉在左边第一张椅子上坐下，黛玉十分推让。

So they entered the back room, where many people were already waiting, and when they saw Lady King coming, they placed the table and chairs; Li, wife of Treasure Merchant, held the cup, Lady King placed the chopsticks, and Splendid Phoenix King drank the soup. Grandma Merchant was sitting alone on a couch, flanked by four empty chairs. Splendid Phoenix King was busy pulling Mascara Jade Forest to sit in the first chair on the left, but Mascara Jade Forest was too embarrassed to sit.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 00:57, 13 December 2021 (UTC)

So they entered the back room, where many people were already waiting, and when they saw Lady King coming, they placed the table and chairs; Li, wife of Treasure Merchant, held the cup, Lady King placed the chopsticks, and Splendid Phoenix King drank the soup. Grandma Merchant was sitting alone on a couch, flanked by four empty chairs. Splendid Phoenix King was busy pulling Mascara Jade Forest to sit in the first chair on the left, but Mascara Jade Forest was too embarrassed to sit.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 03:42, 13 December 2021 (UTC)

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

贾母笑道：“你舅母和嫂子们是不在这里吃饭的。你是客，原该这么坐。”黛玉方告了坐，就坐了。贾母命王夫人也坐了。迎春姊妹三个告了坐，方上来：迎春坐右手第一，探春左第二，惜春右第二。

Grandama Merchant said with a smile, "your aunt and sister-in-law don't eat here. You are a guest. You should have sat here." Mascara Jade Forest then sat down. Grandama Merchant ordered Lady King to sit down. The three sisters of Spring Pleasure Merchant sat down：Spring Pleasure Merchant sat first on the right hand, Seeking-Spring Merchant second on the left, and Cherishing Spring Merchant second on the right.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:36, 11 December 2021 (UTC)

Grandama Merchant said with a smile, "your aunts and sisters-in-law don't eat here. You are a guest. You should have sat here." Mascara Jade Forest then sat down. Grandama Merchant ordered Lady King to sit down. The three sisters of Spring Pleasure Merchant were asked to sit down: Spring Pleasure Merchant sat first on the right hand, Seeking-Spring Merchant second on the left, and Cherishing Spring Merchant second on the right.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 02:02, 12 December 2021 (UTC)

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

旁边丫鬟执着拂尘、漱盂、巾帕，李纨、凤姐立于案边布让；外间伺候的媳妇、丫鬟虽多，却连一声咳嗽不闻。饭毕，各各有丫鬟用小茶盘捧上茶来。当日林家教女以惜福养身，每饭后必过片时方吃茶，不伤脾胃；

Standing at the table, the servant girls held the horsetail whisks, vessels for mouthwash and handkerchiefs. Silk Plum and Splendid Phoenix King sent dishes, refreshments to guests and invited them to eat. Though there were many servant girls in the outer room, they could not be heard to utter a sound. When the meal was over, each servant girl brought tea with a small tray. Mascara Jade Forest took tea after each meal to keep health and not hurt her spleen and stomach.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 01:55, 12 December 2021 (UTC)

The servant girls are standing at the table with the horsetail whisks, vessels for mouthwash and handkerchiefs. Silk Plum and Splendid Phoenix King sent dishes, refreshments to guests and invited them to eat. Though there were many servant girls in the outer room, they could not be heard to utter a sound. When the meal was over, each servant girl brought tea with a small tray. Mascara Jade Forest took tea after each meal to keep health and not hurt her spleen and stomach.--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 09:23, 13 December 2021 (UTC)

[[Media:Example.ogg]]==周玖 Zhōu Jiǔ 英语语言文学（英美文学）女 202120081555==

今黛玉见了这里许多规矩不似家中，也只得随和些。接了茶，又有人捧过漱盂来，黛玉也漱了口，又盥手毕。然后又捧上茶来，这方是吃的茶。贾母便说：“你们去罢，让我们自在说说话儿。”
Mascara Jade Forest saw many rules here are not like her home. She was also easy-going. After receiving the tea, someone else took a gargle bowl for her. Mascara Jade Forest also rinsed her mouth and finished washing her hands again. Then tea which was for drinking was brought in. Then Grandma Merchant said to servants , "You all go and let's have a talk in our own comfort."

Now Mascara Jade saw many rules here are not like the rules of her home. She can only be easygoing. She caught the teacup. Some domestics came over with a mouthwash basin. Mascara Jade gargled and washed her hands. Then the servant brought back tea, and this was tea for drinking.Then Dowager Lady Jia said to servant, "You all go and let's have a talk in our own comfort."--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 10:47, 13 December 2021 (UTC)

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

王夫人遂起身，又说了两句闲话儿，方引李、凤二人去了。贾母因问黛玉念何书，黛玉道：“刚念了《四书》。”黛玉又问姊妹读何书，贾母道：“读什么书，不过认几个字罢了。”

Lady King stood up and said something idle, then led Lady Plum and Splendid Phoenix King to leave. When Dowager Lady Jia asked Mascara Jade what books she had read, Mascara Jade replied, "I just have read the ''Four Books''." When Mascara Jade asked her sisters what books they read, Dowager Lady Jia said, "They don't read anything. They only know a few words."--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 09:25, 13 December 2021 (UTC)

Lady King rose as soon as she heard these words, and having made a few irrelevant remarks, she led the way and left the room along with the two ladies, Mrs. Li and Splendid Phoenix king.Grandma Merchant, having inquired of Mascara Jade what books she was reading, "I have just begun reading the Four Books," Mascara Jade replied. "What books are my cousins reading?" Mascara Jade went on to ask. "Books, you say!" exclaimed Grandma Merchant; "why all they know are a few characters, that's all."--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:15, 15 December 2021 (UTC)

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

一语未了，只听外面一阵脚步响，丫鬟进来报道：“宝玉来了。”黛玉心想：“这个宝玉，不知是怎样个惫懒人呢。”及至进来一看，却是位青年公子：头上戴着束发嵌宝紫金冠，齐眉勒着二龙戏珠金抹额；

The sentence was barely out of her lips, when a continuous sounding of footsteps
was heard outside, and a waiting maid entered and announced that Precious Jade was
coming. Mascara Jade was speculating in her mind how it was that this Precious Jade had
turned out such a good-for-nothing fellow, when he happened to walk in.
He was, in fact, a young man of tender years, wearing on his head, to hold his
hair together, a cap of gold of purplish tinge, inlaid with precious gems.
Parallel with his eyebrows was attached a circlet, embroidered with gold, and
representing two dragons snatching a pearl.
--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 08:36, 13 December 2021 (UTC)

After a word, only a sound of footsteps outside, the maid came in and reported: "Baoyu is here." Daiyu thought to herself: "This Baoyu, I don't know what a tired lazy person." When she came in, she was a young man. He wears a purple and gold crown with hair inlaid on his head, and his forehead are tied with gold frontlet（The shape is two dragons playing with pearled）.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 15:21, 11 December 2021 (UTC)

==周清 Zhōu Qīng 法语语言文学女 202120081558==

一件二色金百蝶穿花大红箭袖，束着五彩丝攒花结长穗宫绦，外罩石青起花八团倭缎排穗褂；登着青缎粉底小朝靴。面若中秋之月，色如春晓之花；鬓若刀裁，眉如墨画，鼻如悬胆，睛若秋波。

A big red arrow sleeve decorated with two-color golden butterfly flowers, is tied with multicolored silk and knotted with long spikes, and is covered with azurite and satin rowed gowns; it wears small green satin and powder-soled boots. The face is as round and beautiful as the moon of Mid-Autumn Festival, the complexion is like a flower of spring dawn; the temples are like a knife cut, the eyebrows are like ink painting, the nose is like a hanging gall, and the eyes are like autumn waves.

A big red arrow sleeve decorated with two-color golden butterfly flowers, is tied with multicolored silk and knotted with long spikes, and is covered with azurite and satin rowed gowns; he wore small green satin and powder-soled boots. The face is as round and beautiful as the moon at mid-autumn, the complexion is like a flower of in spring; the temples as if chiselled with a knife, the eyebrows are like ink painting, the nose is like a a well-cut and shapely nose, and the eyes are like vernal waves.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:19, 13 December 2021 (UTC)

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

虽怒时而似笑，即嗔视而有情。项上金螭缨络，又有一根五色丝绦，系着一块美玉。黛玉一见，便吃一大惊，心中想道：“好生奇怪：倒像在那里见过的，何等眼熟！”只见这宝玉向贾母请了安，贾母便命：“去见你娘来。”

His angry look even resembled a smile; his glance was full of sentiment.Round his neck he had a gold dragon necklet with a fringe; also a cord of variegated silk, to which was attached a piece of beautiful jade. When Mascara Jade Forest saw this, she was shocked."How very strange." she was reflecting in her mind; "it would seem as if I had seen him somewhere or other, for his face appears extremely familiar to my eyes;" Precious Jade Merchant greeted Grandma Merchant "Go and see your mother and then come back," remarked her venerable ladyship.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:08, 13 December 2021 (UTC)

His angry look somentimes even resembled a smile; his glance was full of sentiment.Round his neck he had a gold dragon necklet with a fringe; also a cord of silk of five colours, to which was attached a piece of beautiful jade. When Mascara Jade Forest saw this, she was shocked and thought to herself: "How strange it is." she was reflecting in her mind; "as if I had seen him somewhere or other, for his face appears extremely familiar to my eyes;" Precious Jade Merchant greeted Lady Dowager "Go and see your mother and then come back."--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 11:46, 16 December 2021 (UTC)

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

即转身去了。一会再来时已换了冠带：头上周围一转的短发都结成小辫，红丝结束，共攒至顶中胎发，总编一根大辫，黑亮如漆，从顶至梢，一串四颗大珠，用金八宝坠脚；身上穿着银红撒花半旧大袄；仍旧带着项圈、宝玉、寄名锁、护身符等物；

Then turned around and went. He has changed the crown band when coming back for a while: the short hair around the head is braided, the red silk ends, and the hair is gathered up to the top of the fetus. The chief editor is a big braid, black and shiny, from top to tip , A string of four large beads, with gold eight treasures falling to the feet; wearing a silver-red half-old coat with flowers; still wearing collars, gems, locks, amulets, etc.;

He turned away. When he came back later, he had changed his crown belt: the short hair around his head was braided, and the red silk ended. He saved up to the top and middle fetal hair. The chief editor had a big braid, black and bright as paint, a string of four big beads from the top to the tip, and dropped his feet with gold eight treasures; He was wearing a silver red flower sprinkled semi-old coat; Still wearing collars, precious jade, name sending locks, amulets, etc--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 12:56, 16 December 2021 (UTC)

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

下面半露松绿撒花绫裤，锦边弹墨袜，厚底大红鞋。越显得面如傅粉，唇若施脂；转盼多情，语言若笑。天然一段风韵，全在眉梢；平生万种情思，悉堆眼角。看其外貌，最是极好，却难知其底细。
His lower body showed loose green flower pants, cotton socks and a pair of thick soled red shoes. This makes him look more beautiful. The lips seem to have been powdered with rouge; When he speaks, he often has a smile on his face, and his eyebrows can convey affection. A person's style and temperament, including what he thinks, can be conveyed through his eyes. His appearance is very good-looking, but I don't know whether he has real connotation.

==Nadia 202011080004==

后人有《西江月》二词批的极确，词曰：

==Mahzad Heydarian 玛莎 202021080004==

无故寻愁觅恨，有时似傻如狂。
Seeking sorrow and hate for no reason, sometimes seems stupid and crazy.

==Mariam toure 2020GBJ002301==

纵然生得好皮囊，腹内原来草莽。

==Rouabah Soumaya 202121080001==

潦倒不通庶务，愚顽怕读文章。

I'm not able to get through general affairs, and I'm afraid of reading articles.

==Muhammad Numan 202121080002==

行为偏僻性乖张，那管世人诽谤。
He who behaves in a perverse way has no control over the slander of course.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 03:29, 14 December 2021 (UTC)

==Atta Ur Rahman 202121080003==

又曰：富贵不知乐业，贫穷难耐凄凉。
It is also known that wealth does not know pleasure and happiness, and poverty cannot endure loneliness.

==Muhammad Saqib Mehran 202121080004==

可怜辜负好时光，于国于家无望。
Translation: The poor lived up to the good times, and the country was hopeless at home.

==Zohaib Chand 202121080005==

天下无能第一，古今不肖无双。

==Jawad Ahmad 202121080006==

寄言纨袴与膏粱，莫效此儿形状。

English; the author is to give some suggestion to playboys of high official that they do not follow the example of Jia Baoyu.

==Nizam Uddin 202121080007==

却说贾母见他进来，笑道：“外客没见就脱了衣裳了，还不去见你妹妹呢。”

But she said that Mother Jia saw him come in and smiled: "The foreigner took off her clothes without seeing him, so she won't go to see your sister."

==Öncü 202121080008==

宝玉早已看见了一个袅袅婷婷的女儿，便料定是林姑妈之女，忙来见礼。

Precious Jade had already seen a daughter with a gentle posture, thought might be the daughter of Aunt Lin, then hurried to meet her.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:17, 13 December 2021 (UTC)

==Akira Jantarat 202121080009==

归了坐细看时，真是与众各别。

When I look at you carefully, I think you are different.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 09:59, 13 December 2021 (UTC)

When I returned to take a closer look, it was really different. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 07:41, 12 December 2021 (UTC)

==Benjamin Wellsand 202111080118==

只见：两弯似蹙非蹙笼烟眉，一双似喜非喜含情目。

I saw two bends like the frowning of smoked eyebrows, at first they seemed happy but not really happy, yet affectionate eyebrows. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 07:41, 12 December 2021 (UTC)

I saw: two curved eyebrows that looked like a frown, a pair of eyebrows that seemed to be happy or not. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 23:18, 12 December 2021 (UTC)

==Asep Budiman 202111080020==

态生两靥之愁，娇袭一身之病。

The sorrow of the two distresses, the disease of the whole body. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 23:17, 12 December 2021 (UTC)

The sorrow of two distresses, spoiled - the disease of the whole body.------Ei Mon Kyaw [[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:15, 15 December 2021 (UTC)--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:15, 15 December 2021 (UTC)Ei Mon Kyaw

==Ei Mon Kyaw 202111080021==

泪光点点，娇喘微微。

Tears shone a little, and she breathed slightly.--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 15 December 2021 (UTC)Ei Mon Kyaw -----Ei Mon Kyaw[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 15 December 2021 (UTC)
The tears droped, and she breathed slowly. --[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 11:58, 15 December 2021 (UTC)

The eyes twinkled with tears and she breathed slightly.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 12:18, 19 December 2021 (UTC)

20211215 homework

2021-12-30T05:37:28Z

Wei Zhaoyan: /* 魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学）女 202120081527 */

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

==陈静 Chén Jìng 国别女 202020080595==

鼎：古代食器。胡羼(chàn忏) ──胡闹。羼：本义为群羊杂居。引申为杂乱不纯，乱七八糟。

Tripod (Ding in Chinese): ancient food utensil. Hu Chan in Chinese means nonsense. Chan in Chinese originally means that the sheep live together, whose extensive meaning is mess.
----

Tripod: ancient food utensil. Hi Chan - nonsense. The original meaning is that sheep live together. It is extended meaning to be messy, impure and messy.
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:25, 12 December 2021 (UTC)

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

抓──即“抓周”，亦称“试儿”、“试周”。旧俗于婴儿满周岁时，父母摆列各种小件器物，任其抓取，以测试其秉性、智愚、志趣。此俗始于江南，后亦传到北方。

Grasping -- namely "grasping the week", also known as "trying the child" and "trying the week". The old custom is that when a baby reaches the age of one year, his parents arrange all kinds of small objects and let him grab them to test his temperament, intelligence and interest. This custom began in the south of the Yangtze River and later spread to the north.
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:23, 12 December 2021 (UTC)

Catch ─ ─ means "catch the week", also known as "test" and "test week". The old custom is when the baby reaches one year old, the parents arrange all kinds of small utensils and let them grab them to test their disposition, wisdom and ambition. This custom began in the south of the Yangtze River and then spread to the north.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:41, 11 December 2021 (UTC)

==曾俊霖 Zēng Jùnlín 国别男 202120081478==

事见北朝周·颜之推《颜氏家训·风操》：“江南风俗，儿生一期(年)，为制新衣，盥浴装饰，男则用弓矢纸笔，女则刀尺针缕(线)，并加饮食之物及珍宝服玩，置之儿前，观其发意所取，以验贪亷智愚，名之为试儿。”

It is said in Yan's family instructions and customs by Yan Zhitui of the Northern Dynasty that "the custom in the south of the Yangtze River was born in the first year. It was to make new clothes and decorate bathrooms. Men used bows and arrows, paper and pens, women used knives, rulers, needles and threads (lines), and played with food and precious clothes. They were placed in front of their children and looked at what they wanted to take to test their greed, wisdom and stupidity. They were called test children."--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:37, 11 December 2021 (UTC)

It is said in Yan's family instructions and customs by Yan Zhitui of ''the Northern Dynasty'' that the custom in the south of the Yangtze River was born in the first year. It was to make new clothes and decorate bathrooms. Men used bows and arrows, paper and pens, women used knives, rulers, needles and threads (lines), and played with food and precious clothes. They were placed in front of their children and looked at what they wanted to take to test their greed, wisdom and stupidity. They were called test children."--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 12:20, 20 December 2021 (UTC)Chen Huini

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

(宋·赵彦卫《云麓漫钞》卷二也有相同记载)又宋·叶真《爱日斋丛钞》卷一：“《玉壶野史》记曹武惠王(曹彬)始生周晬日，父母以百玩之具罗于席，观其所取。

(Song · Zhao Yanwei's ''Yunlu Manchao'', Volume 2 has the same record) and Song · Ye Zhen, Volume 1, ''Ai Ri Zhai Cong Chao'': "''In the History of Jade Pot'', when King Cao Wu hui (Cao Bin) was on the year ahead in the first week of his birth, his parents viewed the year he took with a hundred toys on the table.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 12:24, 20 December 2021 (UTC)Chen Huini

（also recorded in Volume 2 of ''Yunlu Essay'' by Zhao Yanwei，Song Dynasty） Volume 1 of ''Ai Rizhai Essay'' by Ye Zhen，Song Dynasty：“ ''History of Jade Pot'' records that King Wuhui（Cao Bin）'s parents put many toys on the table and observed his choice when he was 100 days years old.”--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 00:53, 22 December 2021 (UTC)

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

武惠王左手提干戈，右手提俎豆，斯须取一印，馀无所视。曹，真定人。江南遗俗乃在此(指真定)，今俗谓试周是也。”

Lord Wuhui holds weapons with his left hand and dinnerware in his right hand.Then he looks at a seal and graps it without seeing anything else.Lord Wuhui, whose first name is Cao, comes from Zhen Ding county. The place is called Shi Zhou now, on whiche Jiang Nan's old cities lay.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 00:23, 14 December 2021 (UTC)

Lord Wuhui holds weapons with his left hand and dinnerware in his right hand.Then he looks at a seal and graps it without seeing anything else.Lord Wuhui, whose first name is Cao, comes from Zhen Ding county. The place is so-called Shizhou now, on which ancient Jiangnan lay.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:07, 14 December 2021 (UTC)

==陈心怡 Chén Xīnyí 翻译学女 202120081481==

致知格物──语出《礼记·大学》：“致知在格物，格物而后知至。”意谓要想获得知识，必须探究事物的道理。致：获得，取得。

Zhi Zhi Ge Wu- ''From The Book of Rites·Daxue'': "Zhizhi lies in Gewu, and after Gewu, knowledge arrives." It means that in order to gain knowledge, one must inquire into the truth of things. Zhi: To acquire, to obtain.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:18, 12 December 2021 (UTC)

Zhi Zhi Ge Wu - originated from ''The Book of Rites·Daxue'': "The intention of Zhizhi refers to Gewu, and after the process of Gewu, knowledge will be obtained." It means that in order to gain knowledge, one must inquire into the truth of things. Zhi: to acquire, and to obtain.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 14:45, 20 December 2021 (UTC)

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

格：推究，探究，探讨。尧……张──尧、舜、禹、汤、文、武，即唐尧、虞舜、夏禹、成汤、周文王、周武王，是从上古至西周的明君；

Ge: means deduction, exploration and discussion. Yao...Zhang──Yao, Shun, Yu, Tang, Wen, Wu, namely Tang Yao, Yu Shun, Xia Yu, Cheng Tang, Emperor Wen of Zhou Dynasty, Emperor Wu of Zhou Dynasty, they are all wise emperors from ancient times to the Zhou Dynasty;--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 13:11, 11 December 2021 (UTC)

Ge: means deduction, exploration and discussion. Yao...Zhang──Yao, Shun, Yu, Tang, Wen, Wu, namely Tang Yao, Yu Shun, Xia Yu, Cheng Tang, Emperor Wen of Zhou Dynasty, Emperor Wu of Zhou Dynasty, they are all wise emperors from ancient times to Zhou Dynasty;--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 12:13, 19 December 2021 (UTC)

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

周、召，即周公旦、召公奭，都是西周的贤相；孔、孟，即孔丘(通称孔子)、孟轲(通称孟子)，都是儒学的创始人；董、韩、周、程、朱、张，即汉代董仲舒、唐代韩愈、北宋周敦颐、北宋程颢和程颐兄弟、南宋朱熹、北宋张载，都是儒学理论家。

Zhou, called the Duke of Zhou, and Zhao, called Duke of Shi, are both talented prime ministers (in feudal China); Kong (generally called Confucius) and Meng (generally called Mencius) are both founders of Confucianism; Dong (Dong Zhongshu in Han Dynasty), Han (Han Yu in Tang Dynasty), Zhou (Zhou Dunyi in the Northern Song Dynasty), Cheng (Cheng Jing and Cheng Yi brothers in the Northern Song Dynasty), Zhu (Zhu Xi in the Southern Song Dynasty), Zhang (Zhang Zai in the Northern Song Dynasty) are all Confucian theorists. --[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 07:19, 12 December 2021 (UTC)

Zhou and Zhao are respectively the Duke of Zhou and the Duke of Shi and both are talented prime ministers of the Western Zhou Dynasty; both Kong (generally called Confucius) and Meng (generally called Mencius) are founders of Confucianism; Dong (Dong Zhongshu in Han Dynasty), Han (Han Yu in Tang Dynasty), Zhou (Zhou Dunyi in the Northern Song Dynasty), Cheng (Cheng Jing and Cheng Yi brothers in the Northern Song Dynasty), Zhu (Zhu Xi in the Southern Song Dynasty), Zhang (Zhang Zai in the Northern Song Dynasty) are all Confucian theorists. --[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 08:09, 12 December 2021 (UTC)

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

这些人皆是儒家竭力推崇的人物。蚩尤……秦桧──蚩尤、共工，都是传说中上古最凶恶的部族首领；桀、纣、始皇，即夏桀、商纣王、秦始皇，都是登峰造极的暴君；

All these people are strong recommended by confucianists such as Chi You(a mythological warrior engaged in fighting with the Yellow Emperor), Qin Hui (a traitor in the Song dynasty in Chinese history)and so on. Among them both Chi You and Gong Gong (the water god in ancient Chinses history and the devil of floods) are the most ferocious tribal chief in the Chinese legend;and all Xia Jie, Shang Zhou and Qin Shi Huang, being respectively the emperor Jie of Xia Dynasty，the emperor Zhou of Shang Dynasty and the first emperor of Qin Dynasty, are extremely tyrannical.

All these people are strongly recommended by Confucianists such as Chi You(a mythological warrior engaged in fighting with the Yellow Emperor), Qin Hui (a traitor in the Song dynasty in Chinese history)and so on. Among them both Chi You and Gong Gong (the water god in ancient Chinses history and the devil of floods) are the most ferocious tribal chief in the Chinese legend;and all Xia Jie, Shang Zhou and Qin Shi Huang, being respectively the emperor Jie of Xia Dynasty，the emperor Zhou of Shang Dynasty and the first emperor of Qin Dynasty, are extremely tyrannical.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 14:13, 19 December 2021 (UTC)

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

王莽、曹操、桓温、安禄山、秦桧，他们分别是汉代、三国、东晋、唐代、南宋人，都是大奸臣乃至叛逆之贼。许由……朝云──许由，传说他是上古时为了逃避帝位而终生隐居的贤人；陶潜(即陶渊明)、阮籍、嵇康、刘伶，都是魏晋时期著名文学家及不与流俗同低昂的独行之士；

Wang Mang, Cao Cao, Huan Wen, An Lushan and Qin Kuei, who were in the Han Dynasty, the Three Kingdoms, the Eastern Jin Dynasty, the Tang Dynasty and the Southern Song Dynasty respectively, were all great treacherous court officials and even traitors. It were Xu You... Zhao Yun -- Xu You who were said a sage who lived in seclusion all his life in order to escape the throne in ancient times. Tao Qian (Tao Yuanming), Ruan Ji, Ji Kang and Liu Ling were all prestigious persons in the Wei and Jin dynasties and mavericks who did not flow along with the turbid currents of the mainstream thought.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 14:10, 19 December 2021 (UTC)

Wang Mang, Cao Cao, Huan Wen, An Lushan and Qin Kuei, who were in the Han Dynasty, the Three Kingdoms, the Eastern Jin Dynasty, the Tang Dynasty and the Southern Song Dynasty respectively, were all great treacherous court officials and even traitors. Xu You... Zhao Yun -- Xu You. It is said that he was a sage who lived in seclusion all his life in order to escape the throne in ancient times. Tao Qian (Tao Yuanming), Ruan Ji, Ji Kang and Liu Ling were all famous writers in the Wei and Jin dynasties and mavericks who did not flow along with the turbid currents of the world.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 11:57, 19 December 2021 (UTC)

==付诗雨 Fù Shīyǔ 日语语言文学女 202120081486==

王谢二族，指东晋王导和谢安，都是显贵；顾虎头，即顾恺之，字虎头，是东晋名画家；陈后主、唐明皇、宋徽宗，都是有才气的风流皇帝；

The Two families of Wang and Xie, namely Wang Dao and Xie An, were both nobility in the Eastern Jin Dynasty. Gu Hutou, also known as Gu Kaizhi, was a famous painter in the Eastern Jin Dynasty. Emperor Chen Shubao of Chen, Emperor Ming of Tang and Emperor Huizong of Song were all talented and romantic emperors.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 10:07, 12 December 2021 (UTC)

The Two families of Wang and Xie, namely Wang Dao and Xie An, were both of the nobility in the Eastern Jin Dynasty. Gu Hutou, also known as Gu Kaizhi, was a famous painter in the Eastern Jin Dynasty. Emperor Chen Shubao of Chen, Emperor Ming of Tang and Emperor Huizong of Song were all talented and romantic emperors. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 01:02, 13 December 2021 (UTC)

==高蜜 Gāo Mì 翻译学女 202120081487==

刘庭芝即刘希夷(字庭芝)、温飞卿即温庭筠(字飞卿)，都是唐代名诗人；米南宫即米芾(南宫为世称)，是北宋名画家；石曼卿即石延年(字曼卿)、柳蓍卿即柳永(字蓍卿)、秦少游即秦观(字少游)，都是北宋著名文学家；

Liu Tingzhi, or Liu Xiyi (courtesy name Tingzhi), Wen Feiqin refers orWen Tingyun (courtesy name Feiqing) are both famous poets of the Tang Dynasty. Mi Nangong, or Mi Fu (nickname Nangong), was a famous painter of the Northern Song Dynasty; Shi Manqing, or Shi Yannian (courtesy name Manqing), Liu Yaoqing, or Liu Yong (courtesy name Yaoqing), and Qin Shaoyou, or Qin Guan (courtesy name Shaoyou), were famous literary scholars of the Northern Song Dynasty.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 01:03, 13 December 2021 (UTC)

Liu Tingzhi, or Liu Xiyi (styled Tingzhi), Wen Feiqin refers orWen Tingyun (styled Feiqing) are both famous poets of the Tang Dynasty. Mi Nangong, or Mi Fu (nickname Nangong), was a famous painter of the Northern Song Dynasty; Shi Manqing, or Shi Yannian (styled Manqing), Liu Yaoqing, or Liu Yong (styled Yaoqing), and Qin Shaoyou, or Qin Guan (styled Shaoyou), were famous literary scholars of the Northern Song Dynasty.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 12:27, 15 December 2021 (UTC)

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

倪云林即倪瓒，字云林，是元代名画家；唐伯虎即唐寅(字伯虎)、祝枝山即祝允明(字枝山)，都是明代名画家、文学家；李龟年(唐代人)、黄幡绰(唐代人)、敬新磨(五代后唐人)，都是名艺人；

Ni Yunlin, i.e Ni Zan, was a famous painter in the Yuan Dynasty. Tang Bohu i.e Tang Yin (styled Bohu), Zhu Zhishan i.e Zhu Yunming (styled Zhishan), are famous Ming dynasty painters, litterateurs; Li Gunian (Tang Dynasty), Huang Fan Chuo (Tang Dynasty), Jing Xinmo (five dynasties later Tang dynasty), are famous artists;--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 12:23, 15 December 2021 (UTC)

Ni Yunlin, or Ni Zan, or Ni Yunlin, was a famous painter in the Yuan dynasty; Tang Bohu (or Tang Yin) and Zhu Zhishan (or Zhu Yunming) were famous painters and literary figures in the Ming dynasty; Li Guinian (of the Tang dynasty), Huang Fanchuo (of the Tang dynasty), and Jing Xinmo (of the post-Tang dynasty of the Five Dynasties) were all famous artists.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 06:39, 15 December 2021 (UTC)

==何芩 Hé Qín 翻译学女 202120081489==

卓文君(已见第一回注)、红拂(先为隋相杨素的侍女，后私奔李靖，也是前蜀·杜光庭《虬髯客传》中的女主人公)、薛涛(唐代才妓)、崔莺(即唐·元稹《会真记》、元·王实甫《西厢记》中的崔莺莺)、朝云(宋代名妓)，他们都是以才貌流芳的名女。

Zhuo Wenjun (see the first chapter note), Hong Fu (she used to be as the servant of the Sui minister Yang Su, then eloping to Li Jing; she was also the heroine of ''The Legend of the Gnarled Man'' by Du Guangting), Xue Tao (a talented prostitute of the Tang Dynasty), Cui Ying (i.e. Cui Yingying of Yuan Zhen's ''The Book of Hui Zhen'' and Wang Shifu's "The Western Chamber"), Zhaoyun (a famous prostitute of the Song Dynasty), they are all famous for their talent and beauty. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 06:32, 15 December 2021 (UTC)

Zhuo Wenjun ( the first chapter noted), Hong Fu (she used to be as the servant of the minister of Sui Dynasty Yang Su, then eloping to Li Jing, also the heroine of ''The Legend of the Gnarled Man'' by Du Guangting), Xue Tao (a talented prostitute of the Tang Dynasty), Cui Ying (namely Cui Yingying of Yuan Zhen's ''The Book of Hui Zhen'' and Wang Shifu's "The Western Chamber"), Zhaoyun (a famous prostitute of the Song Dynasty), they are all famous for their talent and beauty.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 12:25, 19 December 2021 (UTC)

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

成则公侯败则贼──意谓成功的人便能获得公爵、侯爵之类的高官显爵，失败的人便被看作贼寇。表示世上并无公理，世人不讲是非，只论成功与失败，即只以成败论英雄。这里化用了“败则盗贼，成则帝王”。

Success makes the Duke while failure makes the theif ——which means that, If one is successful, he will be worshipped as the Duke. While one is unsuccessful, he will be despised as the thief. It expresses that there is no generally acknowledged truth in the world and people neglect justice and only pay attention to success and failure, that is, the sole measure. It coins a phrase here, “Failure makes a thief， success a king.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 12:25, 19 December 2021 (UTC)

The winner is Duke, the looser is theif means that the person who succeeded would be entitled like Duke and who failed would be dispised as a theif. It presents that there is no generally acknowledged truth in the world and people neglect justice and only pay attention to success and failure, that is, the sole measure. It coins a phrase here, “Failure makes a thief， success a king.”--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:58, 12 December 2021 (UTC)

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

出自宋·邓牧《君道》：“嘻！天下何常之有？败则盗贼，成则帝王。”东床──指女婿。典出《晋书·王羲之传》、南朝宋·刘义庆《世说新语·雅量》：晋朝太尉郗鉴派人至丞相王导家相婿，王丞相令其到东厢房随意挑选。

It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying "how can the world be immutable! The loser is the thief, and the winner is the emperor." Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography" and Liu Yiqing's "Shi Shuo Xin Yu · Elegance" (Southern Song dynasty): In Jin dynasty Tai Wei (supreme government official in charge of military affairs) Xijian sent an underlying to the prime minister Wang Dao's house for taking in a son-in-law, and Prime Minister Wang invite him to choose at will in the east wing.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:43, 12 December 2021 (UTC)

It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying "how can the world be immutable! The loser is the thief, and the winner is the emperor." Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography" and Liu Yiqing's "Shi Shuo Xin Yu · Elegance" (Southern Song dynasty): In Jin dynasty Tai Wei (supreme government official in charge of military affairs) Xijian sent an official to the prime minister Wang Dao's house choosing a son-in-law, and Prime Minister Wang invited him to choose at will in the east wing room.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:51, 12 December 2021 (UTC)

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

此人过去一看，见王家诸郎皆很矜持，唯独王羲之坦腹躺在东床之上，毫不在乎。此人回报，郗鉴即选中王羲之为婿。后世即以“东床”、“东床坦腹”、“东床客”、“东床娇客”等代指女婿。

The man looked over and saw that all the lords of Wang family were very reserved, except Wang Xizhi, who was lying on the east bed and didn't care, showing his belly. In return, Xi Jian chose Wang Xizhi as his son-in-law. Later generations referred to the son-in-law with "East Bed", "East Bed Man Showing Belly", "East Bed Guest", "East Bed Distinguished Guest" and so on.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 04:59, 12 December 2021 (UTC)

The man looked over and saw that all the lords of Wang family were very reserved, except Wang Xizhi, who was lying on the east bed and didn't care, showing his belly. In return, Xi Jian chose Wang Xizhi as his son-in-law. Later generations referred to the son-in-law with "East Bed", "East Bed Man Showing Belly", "East Bed Guest", "East Bed Distinguished Guest" and so on.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 13:54, 19 December 2021 (UTC)Huang Zhuliang

==黄柱梁 Huáng Zhùliáng 国别男 202120081493==

退了一舍之地──意谓退避三十里。形容退居其后，不敢与争。一舍：三十里。这里化用了“退避三舍”之典。He retreat thirty miles. It describes retreating behind and not daring to compete with. Yishe: Thirty Li. The code of "retreat and give up" is used here.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 13:53, 19 December 2021 (UTC)Huang Zhuliang

He retreat thirty miles. It describes retreating behind and not daring to compete with. Yishe: Thirty Li. The code of "retreat and give up" is used here
--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 12:02, 19 December 2021 (UTC)

==金晓童 Jīn Xiǎotóng 202120081494==

典出《左传·僖公二十三年》：春秋时，晋国公子重耳出奔至楚，楚成王礼遇之，因问道：“公子若反(返)晋国，则何以报不谷？”重耳对曰：“若以君之灵，得反晋国，晋、楚治兵，遇于中原，其辟(避)君三舍。”
This story comes from ''Zuo Zhuan · Xi public twenty three years'': During the Spring and Autumn Period (777-476 BC), Childe Chong Er of the state of Jin went to the state of Chu. King Cheng of Chu gave a banquet for Chong er and asked, "If childe returns to the state of Jin, how will you repay me? Chong Er answered, "If I can return to the state of Jin, if the troops of the state of Jin and the state of Chu meet each other in the Central Plains, I will ask the troops of the state of Jin to retreat 90 li.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 06:56, 12 December 2021 (UTC)
This story comes from ''Zuo Zhuan · Xi public twenty three years'': During the Spring and Autumn Period (777-476 BC), Childe Chong Er of the state of Jin went to the state of Chu. King Cheng of Chu gave a banquet for Chong er and asked, "If childe returns to the state of Jin, how will you repay me? Chong Er answered, "If I can return to the state of Jin, if the troops of the state of Jin and the state of Chu meet each other in the Central Plains, I will ask the troops of the state of Jin to retreat 90 li.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 09:18, 29 December 2021 (UTC)

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

后重耳返国为君，晋、楚城濮(在今山东省鄄城县西南)之战，重耳遵守诺言，晋军果“退三舍以辟之”。

第三回

托内兄如海荐西宾接外孙贾母惜孤女

Then Childe Chong Er came back to his country as Emperor. In the battle of Jin and Chu in Chengpu (in southwest of Juancheng county in Shandong province), he keeps his promise, then the army of Jin actually retreated to avoid the war.

Chapter 3

Entrust cousin Ru Hai with recommendations of distinguished gusts; Accept granddaughter lady Dowager takes pity on orphan girl

Then Childe Chong Er came back to his country as Emperor. In the battle of Jin and Chu in Chengpu (in southwest of Juancheng county in Shandong province), he keeps his promise, then the army of Jin actually retreated to avoid the war.

Chapter 3

Entrust cousin Ru Hai with recommendations of distinguished gusts; Welcoming her granddaughter, lady Dowager takes pity on the orphan girl.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 11:13, 20 December 2021 (UTC)

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

却说雨村忙回头看时，不是别人，乃是当日同僚一案参革的张如圭。他系此地人，革后家居，今打听得都中奏准起复旧员之信，他便四下里寻情找门路，忽遇见雨村，故忙道喜。二人见了礼，张如圭便将此信告知雨村。

Rainvillage Merchant, turning round in a hurry, perceived that the speaker was no other than a certain Chang Rugui, an old colleague of his, who had been denounced and deprived of office, on account of some case or other; a native of that district, who had, since his degradation, resided in his home.Having come to hear the news that a memorial, presented in the capital, that the former officers (who had been cashiered) should be reinstated, had received the imperial consent, he had promptly done all he could, in every nook and corner, to obtain influence, and to find the means (of righting his position,) when he, unexpectedly, came across Rainvillage Merchant, to whom he therefore lost no time in offering his congratulations. The two friends exchanged the conventional salutations, and Chang Ju-kuei communicated the tidings to Yue-ts'un.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 07:11, 25 December 2021 (UTC)

Rainvillage Merchant, speedily looking back on, perceived that the speaker was no other than a certain Chang Ju-kuei, an old colleague of his, who had participated in the former case but been denounced and deprived of office, on account of some case or other. He was a native of that district, who had resided at home since his degradation. Having lately come to hear the news that a memorial, presented in the capital, that the former officers (who had been cashiered) should be reinstated, had received the imperial consent, he had promptly done all he could to obtain influence, and to find the means of righting his position. When he, unexpectedly, came across Rainvillage Merchant, he offered offering his congratulations to him soon. The two friends greeted to each other, exchanging the conventional salutations, and Chang Ju-kuei forthwith passed on the information to Rainvillage Merchant.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:55, 15 December 2021 (UTC)--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 13:42, 29 December 2021 (UTC)

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

欢喜，忙忙叙了两句，各自别去回家。冷子兴听得此言，便忙献计，令雨村央求林如海，转向都中去央烦贾政。雨村领其意而别，回至馆中，忙寻邸报看真确了。次日，面谋之如海。如海道：“天缘凑巧。

Rainvillage Merchant was delighted, but after he had made a few remarks in a hurry, each took his leave and sped on his own way homewards. After hearing this conversation, Leng Tzu-hsing hastened at once to propose a plan, advising Rainvillage Merchant to request Lin Ju-hai, then, in his turn, to appeal to Master Merchant in the capital for support.Rainvillage Merchant accepted the suggestion, and took leave of him. Upon returning to the quarter, he made all haste to lay his hand on the Metropolitan Gazette, to ascertain whether the news was authentic or not. On the next day, he had a personal consultation with Ju-hai. "Providence and good fortune are both alike propitious!" said by Ju-hai.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:57, 15 December 2021 (UTC)--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 13:45, 29 December 2021 (UTC)

Yue-ts'un was delighted, but after he they made a short conversation, each of them stepped on their own way homewards. After hearing the words of Yue-ts'un, Leng Tzu-hsing hastened at once to propose a plan, advising Yue-ts'un to request Lin Ju-hai, then, in his turn, to appeal to Chia Cheng in the capital for support. Yue-ts'un accepted the suggestion, and took leave of him. Upon returning to the quarter, he made all haste to read the Metropolitan Gazette, to ascertain the authenticity of that news. On the next day, he made a personal consultation with Ju-hai. Thus, Ju-hai said, "Providence and good fortune are both alike propitious!" --[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:06, 15 December 2021 (UTC)

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

因贱荆去世，都中家岳母念及小女无人依傍，前已遣了男女、船只来接，因小女未曾大痊，故尚未行。此刻正思送女进京。因向蒙教训之恩，未经酬报，遇此机会，岂有不尽心图报之理？弟已预筹之，修下荐书一封，托内兄务为周全，方可稍尽弟之鄙诚；

Since my wife has passed away, my mother-in-law has long before dispatched servants and transporting boats here to fetch my lonely daughter. But she has not set off yet due to the fact that she had not fully recovered at that time. As she is in good condition now, I am considering sending her to her grandma's. Once you have taught my daughter but desired no handsome payment; while now you need help, how can I sit on the fence? I have already well prepared for that in advance --- a recommendation letter has been written to my brother-in-law, to ensure your success in career. Only in this way can I show my gratitude towards you.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 08:15, 11 December 2021 (UTC)

Since my wife has passed away, my mother-in-law who lives in the capital worried that my daughter has no one to rely on. So she has long before dispatched servants and transporting boats here to fetch my lonely daughter. But she has not set off yet due to the fact that she had not fully recovered at that time. As she is in good condition now, I am considering sending her to her grandma's. Once you have taught my daughter but desired no handsome payment; while now you need help, how can I sit on the fence? I have already well prepared for that in advance --- a recommendation letter has been written to my brother-in-law, to ensure your success in career. Only in this way can I show my gratitude towards you.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 07:43, 12 December 2021 (UTC)

==李双 Lǐ Shuāng 翻译学女 202120081499==

即有所费，弟于内家信中写明，不劳吾兄多虑。”雨村一面打恭，谢不释口；一面又问：“不知令亲大人现居何职？只怕晚生草率，不敢进谒。”如海笑道：“若论舍亲，与尊兄犹系一家，乃荣公之孙：大内兄现袭一等将军之职，名赦，字恩侯；

“As for the possible costs, I will explain in the letter. You don’t need to worry about it.” Yu Cun bent down and expressed his gratitude, asking: “What does your brother do now? I’m worried that I would take the liberty to pay a visit, it’s too hasty.” Ru Hai laughed and said: “My brother and your brother belong to the same family. They are both descendants of Origin Merchant. My eldest brother is now a first-class general, his name is Pardon Merchant, whose alternative given name is Enhou.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 07:38, 12 December 2021 (UTC)

“As for the possible costs, I will explain in the letter. You needn’t to worry about it.” Yu Cun bent down and expressed his gratitude, asking: “What does your brother do now? I’m worried that I would take the liberty to pay a visit, it’s too hasty.” Ru Hai laughed and said: “My brother and your brother belong to the same family. They are both descendants of Ronggong. The eldest brother of my wife is now a first-class general, his name is Pardon Merchant, whose alternative given name is Enhou.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 23:46, 12 December 2021 (UTC)

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

二内兄名政，字存周，现任工部员外郎，其为人谦恭厚道，大有祖父遗风，非膏粱轻薄之流，故弟致书烦托，否则不但有污尊兄清操，即弟亦不屑为矣。”雨村听了，心下方信了昨日子兴之言，于是又谢了林如海。

“The second brother of my wife named Zheng, his style name is Cunzhou. He is the Yuanwai official of the Ministry of Works in feudal China. He is moderate and kind, has the dignity of his grandfather, and is not the flimsy type. Therefore, my brother sent a letter to me. Otherwise, I will not only pollute my brother's operation, but also despise my brother.” After hearing this, Yuchun had believed the words of Zixing yesterday, therefore, he thanked Lin Ruhai again. --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 01:27, 12 December 2021 (UTC)

The second brother-in-law is named Zheng, and the word is kept in Zhou. He is currently a member of the Ministry of Engineering. He is courteous and kind. He has a grandfather's legacy. He is not anointing and frivolous. Disdainful. "Yucun listened, and believed in Xing's words from yesterday, so he thanked Lin Ruhai again.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:12, 12 December 2021 (UTC)

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

如海又说：“择了出月初二日小女入都，吾兄即同路而往，岂不两便？”雨村唯唯听命，心中十分得意。如海遂打点礼物并饯行之事，雨村一一领了。那女学生原不忍离亲而去，无奈他外祖母必欲其往，且兼如海说：“汝父年已半百，再无续室之意；
Ruhai also said: "I chose the girl to enter the capital on the second day of the lunar month, and my brother will go the same way. Isn't it both convenient?" Yucun obeyed,and RuHai was very satisfied . Ruhai then took some gifts and walked away, and Yucun took them one by one. The girl student couldn't bear to leave her relatives, but his grandmother wanted to go there. She also said like the sea: "Your father is half a hundred years old, and there is no intention to remarry.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:11, 12 December 2021 (UTC)
Ruhai said, "I chose the second day of the month to enter the capital, and my brother went the same way. Rain village obedient, the heart is very proud. Such as Haisui make gifts and farewell dinner, Rain village one by one. The girl could not bear to leave her, but her grandmother wanted her to go, saying, "Your father is fifty years old, and has no intention of staying in the house;--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:27, 19 December 2021 (UTC)

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

且汝多病，年又极小，上无亲母教养，下无姊妹扶持。今去依傍外祖母及舅氏姊妹，正好减我内顾之忧，如何不去？”黛玉听了，方洒泪拜别，随了奶娘及荣府中几个老妇登舟而去。雨村另有船只，带了两个小童，依附黛玉而行。
You are sick, you are young, you have no mother to nurse you, and no sisters to nurse you. Now I am going to my grandmother and my uncle and sisters, which will relieve my worries. Why not?" When Mascara Jade Forest heard this, she said goodbye with tears and followed the wet nurse and some old women in the Rong House to the boat. Yucun had another boat with two children attached to Mascara Jade Forest.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:25, 19 December 2021 (UTC)
----

And you are sick, very young, no mother to raise, no sister support. Today I go to rely on my grandmother and uncle's sisters, just to reduce my internal worries, how not to go? Dai Yu listened, and Fang shed tears to say goodbye, and followed the grandmother and several old women in the Rong Mansion to board the boat. There was another boat in the rain village, with two children, who were attached to Daiyu.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:29, 19 December 2021 (UTC)

==李怡 Lǐ Yí 法语语言文学女 202120081504==

一日到了京都，雨村先整了衣冠，带着童仆，拿了宗侄的名帖，至荣府门上投了。彼时贾政已看了妹丈之书，即忙请入相会。见雨村相貌魁伟，言谈不俗；且这贾政最喜的是读书人，礼贤下士，拯溺救危，大有祖风；况又系妹丈致意：因此优待雨村，更又不同。
One day, when Rainvillage Merchant arrived in Jingdou, he dressed himself, and went to Rongfu with his nephew's name card. At this time Master Jia had seen his brother-in-law's letter, immediately invited him to come in to meet. Rainvillage Merchant looked tall and handsome and talked well. And Master Jia most like scholar, courtesy, saving, great predecessors style; Therefore, Master Jia is very good to Rainvillage Merchant. He is different from others.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 08:18, 11 December 2021 (UTC)

One day, when Rainvillage Merchant arrived in Jingdou, he dressed himself, and went to Rongfu with his nephew's name card. At the very moment that Master Jia had received his brother-in-law's letter, he immediately invited him to come in to meet. Rainvillage Merchant looked tall and handsome and talked well. And Master Jia most like scholar, courtesy, saving, great predecessors style; Therefore, Master Jia is very good to Rainvillage Merchant. He is different from others--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:39, 19 December 2021 (UTC)

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

便极力帮助，题奏之日，谋了一个复职。不上两月，便选了金陵应天府，辞了贾政，择日到任去了，不在话下。且说黛玉自那日弃舟登岸时，便有荣府打发轿子并拉行李车辆伺候。这黛玉尝听得母亲说，他外祖母家与别人家不同

They tried to help, the day of the title, sought a reinstatement. Within two months, he was elected to Jinling Yingtianfu, resigned from Jia Zheng, and left for his post on a certain day. Now, when Mascara Jade abandoned her boat and landed on the shore that day, she was served by a sedan chair sent by the Rongfu and a luggage cart. Mascara Jade heard from her mother that her grandmother's family was different from others.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:40, 19 December 2021 (UTC)

They sought to a position the day that he presented a petition to the throne. Within two months, he was elected to Jinling Mansion, resigned from Master Merchant，and left for his post on a certain day. Now, when Mascara Jade disembarked that day, she was served by a sedan chair sent by the Rongguo Mansion and a luggage cart. Mascara Jade heard from her mother that her grandmother's family was different from others.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:44, 19 December 2021 (UTC)

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

他近日所见的这几个三等的仆妇，吃穿用度，已是不凡；何况今至其家，都要步步留心，时时在意，不要多说一句话，不可多行一步路，恐被人耻笑了去。自上了轿，进了城，从纱窗中瞧了一瞧，其街市之繁华，人烟之阜盛，自非别处可比。

In the past few days, she has been deeply impressed by the food, clothing and behavior of the low- ranking attendants who accompanied her. She decided that in their new home, she must always be vigilant and carefully weigh every word so as not to be ridiculed for any stupid mistake. When she carried into the city, she peeped out through the gauze window on her chair at the bustling and crowded streets, which she had never seen before.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 08:32, 11 December 2021 (UTC)

The three-class servants she had seen recently have an extraordinary cost of food and clothing. What's more, since got on the sedan chair and entered the city, the prosperous market and the populousness of the city through the screen window were not comparable to other places. when coming to grandmother's mansion must pay attention to every step and be cautious with words so as not to be ridiculed by others. Daiyu thought. --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:56, 12 December 2021 (UTC)Liu Wei

==刘薇 Liú Wēi 国别女 202120081507==

又行了半日，忽见街北蹲着两个大石狮子，三间兽头大门，门前列坐着十来个华冠丽服之人。正门不开，只东、西两角门有人出入。正门之上有一匾，匾上大书“敕造宁国府”五个大字。黛玉想道：“这是外祖的长房了。”

After half day, there are two large stone lions squatting on the north side of the street, three gates decorated with beast head, and a dozen people in gorgeous crowns and clothes are sitting in front of the gate. The main gate is closing, only the east and west corners enterences are accessible. There is a plaque above the main gate with five big characters "Ningguo Mansion". "That must be grandfather's the first son's mansion."Daiyu thought. --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:39, 12 December 2021 (UTC)Liu Wei

After another half-day walk, they came to a street with two huge stone lions crouching on the north side and three gates decorated with beast head, in front of which ten or more people in gorgeous crowns and clothes were sitting. The main gate was shut, with only people passing in and out of the other two smaller gates. On a board above the main gate was written in big characters "Ningguo Mansion Built at Imperial Command". Daiyu realized that this must be where the elder branch of her grandmather's family lived.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:40, 13 December 2021 (UTC)

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

又往西不远，照样也是三间大门，方是荣国府，却不进正门，只由西角门而进。轿子抬着走了一箭之远，将转弯时便歇了轿，后面的婆子也都下来了。另换了四个眉目秀洁的十七八岁的小厮上来抬着轿子，众婆子步下跟随。

A little further to the west they came to another three gates. This was the Rong Mansion. Instead of going through the main gate, they entered the one on the west. The bearers carried the chair a bow-shot further, and then set it down at the turning and withdrew, the maidservants now going down the chair. Another four seventeen or eighteen smartly dressed lads picked up the chair, followed by the maids.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:09, 12 December 2021 (UTC)

Not far to the west is the same three-room gate, which is the Rongguo Mansion. Instead of going through the main gate, they entered the one on the west. The bearers carried the chair a bow-shot further, and then set it down at the turning and withdrew, the maidservants now going down the chair. Another four seventeen or eighteen smartly dressed lads picked up the chair, followed by the maids.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:26, 12 December 2021 (UTC)

==刘越 Liú Yuè 亚非语言文学女 202120081509==

至一垂花门前落下，那小厮俱肃然退出。众婆子上前打起轿帘，扶黛玉下了轿。黛玉扶着婆子的手，进了垂花门，两边是超手游廊，正中是穿堂，当地放着一个紫檀架子大理石屏风。转过屏风，小小三间厅房。

When the palanquin was dropped in front of a pendant door, the attendants all retired in silence. The ladies came forward and raised the curtain of the palanquin and helped Daiyu out of the palanquin. The two sides of the door are overhand corridors, and the centre is a hall with a marble screen on a rosewood frame. Turning past the screen, there is a small three-room hall.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:22, 12 December 2021 (UTC)

After the palanquin was dropped in front of a floral-pendant gates, the attendants all retreated in silence. The maids came forward and drew the curtain of the palanquin to help Mascara Jade Forest out of the palanquin. Holding the hands of those maids, Black Jade enter the floral-pendant gates. On the two sides of the door were Chaoshou veranda, and in the center was a vestibule with a marble screen in a rosewood frame. Past the screen, there were three small rooms. --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 13:01, 19 December 2021 (UTC)

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

厅后便是正房大院：正面五间上房，皆是雕梁画栋；两边穿山游廊、厢房，挂着各色鹦鹉、画眉等雀鸟。台阶上坐着几个穿红着绿的丫头，一见他们来了，都笑迎上来道：“刚才老太太还念诵呢，可巧就来了。”于是三四人争着打帘子。一面听得人说：“林姑娘来了。”

Behind the banqueting hall was the courtyard of the principal rooms: the five principal rooms on the front all had carved beams and painted rafters; from the roof of the verandah on both sides, the cages of parrots, thrushes and various birds hung there. A few girls in red and green sat on the steps. Saw they coming, the girls all smiled and came up: “Just now grandma was taking about you. You arrived just in time.” Then they rushed to pull the curtain. From the other side, a man said: “Miss Forest is coming.”--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 12:28, 19 December 2021 (UTC)

Behind the hall was the courtyard of the central house: five principal rooms in the front with carved beams, while along two sides corridors and chambers with colorfully painted birds as parrots and thrush. There were several maids in red and green sitting on the steps. Seeing visitors coming, they greeted them with smiles, saying, "The old lady just talked about you again and again in anticipation, and here you are." then the four maids scrambled to open the curtain. Meanwhile a man said, "Miss Forest is coming."--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 12:47, 19 December 2021 (UTC)

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

黛玉方进房，只见两个人扶着一位鬓发如银的老母迎上来。黛玉知是外祖母了，正欲下拜，早被外祖母抱住，搂入怀中，“心肝儿肉”叫着大哭起来。当下侍立之人无不下泪，黛玉也哭个不休。众人慢慢解劝，那黛玉方拜见了外祖母。
An silver-haired old lady supported by two maids came and welcomed her while Mascara Jade entered the room. Realizing that this was her grandmother, she was about to bow down to show her respects. Suddenly she was tightly hugged by grandmoa who crying out harrowingly "my sweet heart!" Servants and maids were all in tears, and Black Jade also sobbed unceasingly. People persuaded them softly, then Mascara Jade was able to pay her respects to her grandmother. --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 12:14, 19 December 2021 (U

As Dai Yu just came to the home, there came a silver-haired old woman.Dai Yu knew she was grandma, and as she was going to bow down to show her respect, she has been already hugged by her grandma, who cried:"my sweety!". The surrounding maids all cried, as well as Dai Yu. The crowds slowy persuade her, and Dai Yu then showed her respect to her grandma.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 14:01, 19 December 2021 (UTC)

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

贾母方一一指与黛玉道：“这是你大舅母。这是二舅母。这是你先前珠大哥的媳妇珠大嫂子。”黛玉一一拜见。贾母又说：“请姑娘们。今日远客来了，可以不必上学去。”众人答应了一声，便去了两个。

Baoyu's grandmother than introduce them respectively:"This is your eldest aunt, and this is your second aunt.This is your Zhu brother's wife. Dai Yu greet them one by one.Baoyu's grandmother than said that:"Invite the gilrs. Today here come the dear guest, so they don't need to go to school." Surrounding people said yes, and two of them left.

The Lady Dowager then introduced them respectively to Daiyu: "This is your eldest aunt, and this is your second uncle's wife. This is your deceased elder brother Zhu's wife." Daiyu greeted them one by one. Her grandmother then said: "Tell all the girls to come here. We have visitor who came from afar, so they don't need to go to school." Surrounding people answered yes, and two of them left to call them.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:22, 20 December 2021 (UTC)

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

不一时，只见三个奶妈并五六个丫鬟，拥着三位姑娘来了：第一个肌肤微丰，身材合中，腮凝新荔，鼻腻鹅脂，温柔沉默，观之可亲；第二个削肩细腰，长挑身材，鸭蛋脸儿，俊眼修眉，顾盼神飞，文彩精华，见之忘俗；

In a little while, three grannies and five or six servant girls turned up, clustering with three ladies. The first was somewhere plump in figure and of average height; her cheek was in beautiful shape, like a fresh lichee; her nose was glossy like the goose grease; she was gentle and quiet in nature, who looks very friendly. The second was thin and tall with an oval face, sparking eyes and long eyebrows; her elegance and quick-witted mind tickle people’s fancy, letting them forget everything vulgar.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 08:11, 11 December 2021 (UTC)

After a while, the three young ladies showed up, escorted by three wet nurses and five or six maids. The first was slightly plump and of medium height; her cheeks were as smooth and soft as the newly ripened lichees, and her nose was as glossy as goose fat. She was tender and reticent, and looked very affable. The second had drooping shoulders and a slender waist; she was tall and slim, with an oval face, bright and piercing eyes as well as delicate eyebrows. She seemed elegant, quick-witted and in high spirits, with a display of distinctive charm. People who looked at her were to forget everything vulgar and tawdry.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 23:42, 11 December 2021 (UTC)

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

第三个身量未足，形容尚小：其钗环裙袄，三人皆是一样的妆束。黛玉忙起身，迎上来见礼，互相厮认，归了坐位。丫鬟送上茶来。不过叙些黛玉之母如何得病，如何请医服药，如何送死发丧。不免贾母又伤感起来，因说：“我这些女孩儿，所疼的独有你母亲。

The third one was not yet fully grown, and she still had the face of a child. All the three young ladies were dressed in similar garments, that is, the tunics and the skirts with the same bracelets and head ornaments. Mascara Jade Forest hastily rose to greet politely these cousins, and then they introduced to and acquainted with each other, after which they took seats while the maids served the tea. All their talk now was about Mascara Jade Forest's mother: the culprit for her illness, the medicine that the doctors prescribed for treating her disease, and the conduction of her funeral and mourning ceremonies. Inevitably, Grandma Merchant couldn't help being affected painfully. "Of all my chilren I loved your mother best," she told Mascara Jade.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 07:49, 11 December 2021 (UTC)

==毛优 Máo Yōu 俄语语言文学女 202120081515==

今一旦先我而亡，不得见面，怎不伤心！”说着，携了黛玉的手，又哭起来。众人都忙相劝慰，方略略止住。众人见黛玉年纪虽小，其举止言谈不俗；身体面貌虽弱不胜衣，却有一段风流态度，便知他有不足之症。

Once she died before me, I could not see her again. She said, taking Mascara Jade Forest's hand, and cried again. Everyone was busy trying to console her, and soon she slightly stopped. They saw that although Mascara Jade Forest was young, her manner and speech were not ordinary; although her health was weak, she had graceful and elegant manner, so they knew that she had a disease of deficiency.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 08:43, 11 December 2021 (UTC)

"Once she died before me, it is so sad that I could not see her again." she said, taking Mascara Jade Forest's hand, and cried again. Everyone was trying to console her, and then she slightly stopped. They saw that although Mascara Jade Forest was young, her manner and speech were not ordinary; although she was weak, she had graceful and elegant gestures, so they learned that she had a disease of deficiency.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:35, 12 December 2021 (UTC)

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

因问：“常服何药？为何不治好了？”黛玉道：“我自来如此，从会吃饭时便吃药到如今了，经过多少名医，总未见效。那一年我才三岁，记得来了一个癞头和尚，说要化我去出家，我父母自是不从。

So they asked:" What medicine do you usually take? Why doesn't it work?" Mascara Jade Forest replied:" I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous daocters cannot contribute to my illness.When I was three years old, a monk with favus on the head came to persuade me to become a nun,but my parents declined him.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 08:07, 11 December 2021 (UTC)

They then asked, "What medicines do you take regularly? Why can't you cure your illness?" Mascara Jade Forest, "I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous docters cannot contribute to my illness. I was only three years old when I remember a mangy monk came and said he wanted to convert me to a monk, but my parents refused.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:29, 13 December 2021 (UTC)

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

他又说：‘既舍不得他，但只怕他的病，一生也不能好的；若要好时，除非从此以后，总不许见哭声，除父母之外，凡有外亲，一概不见，方可平安了此一生。’这和尚疯疯癫癫，说了这些不经之谈，也没人理他。

The monk said, "if you can't bear to part with her she'll probably nerver get well. The only remedy is to keep her from hearing weeping and from seeing any relatives apart from her father and mother. That's her only hope of having a quiet life." No one paid any attention, of course, to such crazy talk.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:24, 13 December 2021 (UTC)

The monk said, "if you can't bear to separate with her, she'll probably nerver get well. The only remedy is to keep her from hearing weeping and from seeing any relatives apart from her father and mother. That's her only hope of having a quiet life." No one paid any attention, of course, to such nonsense talk.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 12:12, 19 December 2021 (UTC)

[[Media:Example.ogg]]==秦建安 Qín Jiànān 外国语言学及应用语言学女 202120081518==

如今还是吃人参养荣丸。”贾母道：“这正好，我这里正配丸药呢，叫他们多配一料就是了。”一语未完，只听后院中有笑语声，说：“我来迟了，没得迎接远客。”黛玉思忖道：“这些人个个皆敛声屏气如此，这来者是谁，这样放诞无礼？”

Now Mascara Jade Forest is still taking ginseng pills.And Grandma Merchant said:" What a coincidence! The pills are making now, I just tell them to add one." The words have not been finished, but there is a laugh in the back yard, which said:" I come late and fail to welcome our distinguished guest." Mascara Jade Forest thought: all people here are holding their breath, who is this person that is so arrogant and rude?--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 08:19, 11 December 2021 (UTC)

Now Lin Daiyu is still taking ginseng pills. And Grandma Merchant said:" It just so happens that I have been asking them to dispense the pills, just asking them to do one more portion." The words are not finished, but there is a laugh in the back yard, which said:" I am late and fail to welcome our distinguished guest." Mascara Jade Forest thought: “all people here are holding their breath, who is this person that is so arrogant and rude?”--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 09:33, 12 December 2021 (UTC)

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

心下想时，只见一群媳妇、丫鬟拥着一个丽人，从后房进来。这个人打扮与姑娘们不同，彩绣辉煌，恍若神妃仙子：头上戴着金丝八宝攒珠髻，绾着朝阳五凤挂珠钗；项上戴着赤金盘螭缨络圈；身上穿着缕金百蝶穿花大红云缎窄褃袄，外罩五彩刻丝石青银鼠褂；

While Mascara Jade Forest is still thinking about it, a group of daughters-in-law and maids cluster around a beauty coming in from the back room. She dresses up differently from other girls, with colorful embroidery splendor, and looks like a divine concubine or a fairy: wearing a gold silk beads bun decorated with eight treasures and the five phoenix hairpin hanging with beads on the head; a red gold coiled chi dragon tassel ring around the neck; the bright red made of cloud satin material narrow lining cotton jacket with decorations of wisps of gold hundred butterflies and flowers, and the outer coat with decorations of the multicolored engraved silk stone green silver mouse. --[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 09:34, 12 December 2021 (UTC)

Mascara Jade Forest was still thinking about it when she saw a group of daughters-in-law and maids embracing a beautiful woman who came in from the back room. This woman dresses differently from the girls, with colorful embroidery splendor, and looks like a divine concubine fairy: wearing a gold silk eight treasure save beads bun and the sunrise five phoenix hanging beads hairpin on the head; a red gold coiled chi dragon tassel ring around the neck; wearing the bright red made of cloud satin material narrow lining cotton jacket with decorations of wisps of gold hundred butterflies and flowers, and the outer coat with decorations of the multicolored engraved silk stone green silver mouse.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:47, 11 December 2021 (UTC)

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

下着翡翠撒花洋绉裙。一双丹凤三角眼，两弯柳叶吊梢眉。身量苗条，体格风骚。粉面含春威不露，丹唇未启笑先闻。黛玉连忙起身接见。贾母笑道：“你不认得他。他是我们这里有名的一个泼辣货，南京所谓‘辣子’，你只叫他‘凤辣子’就是了。”

Splendid Pheonix King wore a jadeite flowered dress underneath, with a pair of phoenix triangle eyes and two curved willow hanging eyebrows. Her figure is slim and her physique is flirtatious. She can be described with “ the face is delicate and beautiful, spirited character of her is not revealed in the appearance, red lips beautiful, not yet open mouth first heard her laugh”. Mascara Jade Forest hastily got up to curtsy to her. Grandma Merchant said with a smile, "You do not recognize her. She is famous for her boldness and vigorousness here, she is truly the 'chilli woman' in Nanjing dialect, you can just call her ' chilli Feng'."--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:35, 11 December 2021 (UTC)

Splendid Pheonix King, characterized by a pair of phoenix triangle eyes and two curved willow hanging eyebrows, wore an emerald flowered crepe skirt. She was slender and coquettish, with a delicate face and a smiling lip. Mascara Jade Forest promptly rose quickly to greet her. Grandma Merchant said with a smile: “ you don’t know him. He is famous for her fierceness and toughness, namely the so-called Nanjing chilli. So you can just call him ‘Chilli Pheonix’.”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:48, 11 December 2021 (UTC)

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

黛玉正不知以何称呼，众姊妹都忙告诉黛玉道：“这是琏二嫂子。”黛玉虽不曾识面，听见他母亲说过：大舅贾赦之子贾琏，娶的就是二舅母王氏的内侄女，自幼假充男儿教养，叫做王熙凤学名。黛玉忙陪笑见礼，以“嫂”呼之。

Mascara Jade Forest was insensible of what to call her. Then her sisters told her promptly: “ this is your sister-in-law Romance Second Merchant.” Although Mascara Jade Forest had never met her, she heard of her from his mother: Romance Merchant, the son of her Uncle Pardon Merchant, had married the niece of Aunt King, named scientifically Splendid Phoenix King, was brought up as a male offspring since childhood. Mascara Jade Forest was engaged in smiling and saluting at her, calling her “sister-in-law”.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:32, 11 December 2021 (UTC)

Mascara Jade Forest didn't know what to call her. Then her sisters told her promptly: “This is your sister-in-law Romance Second Merchant.” Although Mascara Jade Forest had never met her, she heard of her from his mother: Romance Merchant, the son of her Uncle Pardon Merchant, had married the niece of Aunt King,named scientifically Splendid Phoenix King,was brought up as a male offspring since childhood. Mascara Jade Forest was engaged in smiling and saluting at her, calling her “sister-in-law”.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:55, 13 December 2021 (UTC)

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

这熙凤携着黛玉的手，上下细细打量了一回，便仍送至贾母身边坐下，因笑道：“天下真有这样标致人儿！我今日才算看见了。况且这通身的气派，竟不像老祖宗的外孙女儿，竟是嫡亲的孙女儿似的，怨不得老祖宗天天嘴里心里放不下。

Taking Mascara Jade Forest's hand, Splendid Phoenix King looked up and down her carefully, then she sent her toGrandma Merchant's side to sit down.She laughed and said:"There is really such a beautiful person in the world!I didn't see her until today.Moreover,the style of her makes her be more like your son's daughter than your daughter's daughter.It's no wonder that you are concerned about her so much.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:49, 13 December 2021 (UTC)

Taking Mascara Jade Forest's hand, Splendid Phoenix King looked her up and down carefully, then sent her to Grandma Merchant's side to sit down. She laughed and said:"There is really such a beautiful person in the world! I haven’t seen her until today. Moreover, her extraordinary temperament makes her be more like your son's daughter rather than your daughter's daughter. It's no wonder that you are concerned about her so much. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 06:48, 13 December 2021 (UTC)

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

只可怜我这妹妹这么命苦，怎么姑妈偏就去世了呢？”说着便用帕拭泪。贾母笑道：“我才好了，你又来招我；你妹妹远路才来，身子又弱，也才劝住了：快别再提了。”

I pity my sister for being so miserable, how could my aunt died so early?" She said, wiping her tears with her handkerchief. Grandma Merchant laughed and said, "I've just recovered. You come to provoke me again. Your sister has just arrived from a long journey and is weak, so she has just been persuaded: Don't mention it again."--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 02:37, 12 December 2021 (UTC)

I pity my sister who is so miserable, how could my aunt have died?" She said, wiping her tears with her handkerchief. Your sister has only just arrived from a long journey and is weak, so she has only just been persuaded to stop talking about it."--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:22, 11 December 2021 (UTC)

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

熙凤听了，忙转悲为喜道：“正是呢，我一见了妹妹，一心都在他身上，又是喜欢，又是伤心，竟忘了老祖宗了。该打，该打！”又忙拉着黛玉的手问道：“妹妹几岁了？可也上过学？现吃什么药？在这里别想家。

The first time I saw my sister, I was all over him, and I liked him, and I was sad, and I forgot about my ancestors. You should be beaten, you should be beaten!" He also took Daiyu's hand and asked, "How old is my sister? How old is she? What kind of medicine do you take now? Don't be homesick here.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:21, 11 December 2021 (UTC)

The first time I saw my sister, I was all over him, and I liked him, and I was sad, and I forgot about my ancestors. You should be beaten, you should be beaten!" He also took Daiyu's hand and asked, "How old is my sister? How old is she? What kind of medicine do you take now? Don't be homesick here.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:14, 22 December 2021 (UTC)

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

要什么吃的，什么玩的，只管告诉我；丫头、老婆们不好，也只管告诉我。”黛玉一一答应。一面熙凤又问人：“林姑娘的东西可搬进来了？带了几个人来？你们赶早打扫两间屋子，叫他们歇歇儿去。”

Just tell me what you want to eat and play; Girls and old servants are not good, just tell me. " Daiyu nodded one by one. On one side, Xifeng asked, "have you moved in Miss Lin's things? How many people have you brought? Clean the two rooms early and tell them to have a rest."--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 06:54, 12 December 2021 (UTC)

Tell me what you want to eat and play; And if the maids or old nurses aren't good to you, just let me know. " Mascara Jade Forest nodded one by one. At the same time, Splendid Phoenix asked, "Have Miss Forest's things been moved in? And how many people does she bring? Clean the two rooms as soon as possible and tell them to have a rest there."--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 08:24, 12 December 2021 (UTC)

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

说话时已摆了果茶上来，熙凤亲自布让。又见二舅母问他：“月钱放完了没有？”熙凤道：“放完了。刚才带了人到后楼上找缎子，找了半日，也没见昨儿太太说的那个。想必太太记错了。”王夫人道：“有没有，什么要紧！”

Fruits and tea had been prepared when Splendid Phoenix was talking, and she arranged them by herself. Lady King asked her whether the monthly payment has been given out, she answered yes. “I looked for the satin in the back stairs with some people for hours just now, but didn’t find which madam mentioned yesterday. Madam must be wrong.” Splendid Phoenix King said, and Lady King answered, “ It doesn’t matter if there is or not.”--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 07:45, 12 December 2021 (UTC)

Fruits and tea had been prepared when Xifeng was talking, and she arranged them by herself. The second aunt asked her, "Have the monthly payment been given out?" Xifeng answered, "Yes. And I looked for the satin in the back stairs with some people for hours just now, but didn’t find what madam mentioned yesterday. Madam mabey remember something wrong.” Mrs. Wang replied, “ It doesn’t matter if there is or not.”--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 09:03, 12 December 2021 (UTC)

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

因又说道：“该随手拿出两个来，给你这妹妹裁衣裳啊。等晚上想着，再叫人去拿罢。”熙凤道：“我倒先料着了，知道妹妹这两日必到，我已经预备下了。等太太回去过了目，好送来。”

Mrs. Wang said, "You should take out a couple of satin pieces to cut your sister's dress. When you think of this matter in the evening, send someone for the satin ." Xifeng said, "I expected it. I knew my sister would arrive in these two days, and I had already made preparations. I will send someone for the satin as soon as you have returned and examined it."--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 08:52, 12 December 2021 (UTC)

Lady King added, "You should take out a couple of satin pieces to cut your sister's dress. When you think of this in the evening, send someone for the satin ." Splendid Phoenix King said, "I have expected it. I know my sister will arrive in these two days, and I have already made preparations. I will send someone for the satin as soon as you have examined it."--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:58, 12 December 2021 (UTC)

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

王夫人一笑，点头不语。当下茶果已撤，贾母命两个老嬷嬷带黛玉去见两个舅舅去。维时贾赦之妻邢氏忙起身笑回道：“我带了外甥女儿过去，到底便宜些。”

Her Ladyship smiled, nodded and said nothing. Now the refreshments were cleared away and the Lady Dowager ordered two nurses to take Daiyu to see her two uncles. At this time, Mrs. She also immediately stood up, replied with smile, "it's also very convenient for me to take my niece."--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:51, 11 December 2021 (UTC)

Her Lady City smiled, nodded but said nothing. Now the refreshments were cleared away and the Lady Dowager ordered two mothers to take Mascara Jade Forest to see her two uncles. At this time, Lady Xing immediately stood up, replied with a smile, "it's also very convenient for me to take my niece."--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 08:37, 12 December 2021 (UTC)

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

贾母笑道：“正是呢，你也去罢，不必过来了。”那邢夫人答应了，遂带着黛玉，和王夫人作辞，大家送至穿堂。垂花门前早有众小厮拉过一辆翠幄青油车来，邢夫人携了黛玉坐上，众老婆们放下车帘，方命小厮们抬起。

Grandma Merchant laughed and said: “ Yeah, you can also leave, and don’t have to come here.” Lady City promised, and said goodbye to Lady King with Mascara Jade Forest , all of them went through the hallway. The ingenious green carriage, which drove by a group of manservants stood in front of the floral-pendant gates, Lady City set in the car with Mascara Jade Forest, several old mothers put down the car shade, instructing boys uplift the carriage. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 08:35, 12 December 2021 (UTC)

The mother laughed and said, "Exactly, you also go, no need to come." That Mrs. Xing agreed, so took Daiyu, and Mrs. Wang to say goodbye, we sent to the wear hall. The tent green oil carriage in front of the flower gate, Mrs. Xing took Daiyu to sit on it, the wives put down the curtain, and ordered the boys to lift it.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 01:13, 13 December 2021 (UTC)

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

拉至宽处，驾上驯骡，出了西角门往东，过荣府正门，入一黑油漆大门内，至仪门前方下了车。邢夫人挽着黛玉的手进入院中。黛玉度其处必是荣府中之花园隔断过来的。
Pulled to a wide place, driving on the tame mule, out of the west corner gate to the east, past the main gate of Rongfu, into a black-painted gate, to the front of the ceremony door down the car. Mrs. Xing took Daiyu's hand and entered the courtyard. The first thing you need to do is to get to the garden.

Then he took the mule，went out the west Corner gate to the east, passed the main gate of Rongfu, entered a black painted gate, and got off in front of Yi gate. Lady Xing took Daiyu's hand and entered the courtyard. Daiyu spent its place must be the garden in the rong mansion partition come over.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 01:38, 15 December 2021 (UTC)

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

进入三层仪门，果见正房、厢房、游廊悉皆小巧别致，不似那边的轩峻壮丽，且院中随处之树木山石皆好。及进入正室，早有许多艳妆丽服之姬妾、丫鬟迎着。邢夫人让黛玉坐了；一面令人到外书房中请贾赦。

When we entered the three-story ceremonial gate, the main room, wing room and verandah were all small and unique, unlike those of the other side. Besides, the trees, mountains and stones in the courtyard were all good. When they entered the main room, there were many concubines and servant girls dressed in colourful makeup and beautiful clothes waiting for them. Lady City asked Mascarra Jade to sit down and then let others invite Pardon Merchant in the outer study.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 01:02, 15 December 2021 (UTC)

When entering the three- layers ceremonial gate, Daiyu found that the main room, wing room and verandah were all small and unique, unlike those of the other side. Besides, the trees, mountains and stones in the courtyard were all good. When they entered the main room, there were many concubines and servant girls dressed in heavy makeup and beautiful clothes waiting for them. Madam Xing asked Daiyu to sit down and then let others invite Jia She in the outer study.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 12:10, 19 December 2021 (UTC)

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

一时回来说：“老爷说了：‘连日身上不好，见了姑娘，彼此伤心，暂且不忍相见。劝姑娘不必伤怀想家，跟着老太太和舅母，是和家里一样的。姐妹们虽拙，大家一处作伴，也可以解些烦闷。或有委屈之处，只管说，别外道了才是。’”

Mrs.Xing came back and said, "the master said, 'I've been felt not so good for days. I am afraid that I will be emotional if I see you, so I can't bear to see you for the time being. I advise you not to be homesick. It's the same as home to follow the old lady and aunt. Although the sisters are clumsy, you can relieve some boredom if you keep company together. If you have grievances, just tell us and make yourself at home.''--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 12:07, 19 December 2021 (UTC)

Mrs.Xing came back and said, "the master said, 'I've been felt not so good for days. I am afraid that I will be emotional if I see you, so I can't bear to see you for the time being. I advise you not to be homesick. It's the same as home to follow the old lady and aunt. Although the sisters are clumsy, you can relieve some boredom if you keep company together. If you have grievances, just tell us and make yourself at home.''--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:45, 20 December 2021 (UTC)

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

黛玉忙站起身来，一一答应了。再坐一刻便告辞，邢夫人苦留吃过饭去。黛玉笑回道：“舅母爱惜赐饭，原不应辞；只是还要过去拜见二舅舅，恐去迟了不恭，异日再领。望舅母容谅。”

Daiyu stood up and agreed one by one. Sitting for a moment and then said goodbye, Mrs. Xing painstakingly stay to eat a meal. Daiyu smile back: "aunt love to give rice, should not resign; just have to go over to see second uncle, afraid to go late disrespectful, another day to receive. I hope aunt forgive me."--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:44, 20 December 2021 (UTC)

Mascara Jade Forest stood up and agreed one by one. Sitting for a moment and then said goodbye, Lady City painstakingly stay to eat a meal. Mascara Jade Forest smile back: "aunt love to give rice, should not resign; just have to go over to see second uncle, afraid to go late disrespectful, another day to receive. I hope aunt forgive me.

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

邢夫人道：“这也罢了。”遂命两个嬷嬷用方才坐来的车送过去。于是黛玉告辞。邢夫人送至仪门前，又嘱咐了众人几句，眼看着车去了方回来。一时黛玉进入荣府，下了车，只见一条大甬路直接出大门来。

Lady City said: “That’s fine.” So she ordered two Sisters to send Mascara Jade Forest back by Carriage used before. So Mascara Jade Forest farewell others. Lady City saw her off and said some words to others, seeing the carriage come back and forth. Once Daiyu entered The House of Rong and got off the carriage, she saw a long and wide road.

Lady City said: “That’s fine.” So she ordered two Sisters to send Mascara Jade Forest back by Carriage used before. So Mascara Jade Forest farewell others. Lady City saw her off to the gate of etiquetteand said some words to others, seeing the carriage come back and forth. Once Daiyu entered The House of Rong and got off the carriage, she saw a long and wide road.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:26, 20 December 2021 (UTC)

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

众嬷嬷引着，便往东转弯，走过一座东西穿堂，向南大厅之后，仪门内大院落：上面五间大正房，两边厢房，鹿顶耳房钻山，四通八达，轩昂壮丽，比各处不同。黛玉便知这方是正内室。

Led by the mammy, she turned east, passed through an east-west hall, and came to the south hall, where she found a large courtyard inside the Gate of Yi: five main rooms on the top, flanks on both sides, and deer's roof and ears, extending in all directions, magnificent and different from other places. Daiyu knew this was the inner room.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 09:10, 18 December 2021 (UTC)

Led by the mammies, they turned eastward and passed through an east-west hallway and the southward hall, she found a large courtyard inside the secondary gate: five main rooms on the top, flanks on both sides, and a small flat topped house next to the main house, extending in all directions, magnificent and different from other places. Daiyu knew this was the inner room.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 10:08, 18 December 2021 (UTC)

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

进入堂屋，抬头迎面先见一个赤金九龙青地大匾，匾上写着斗大三个字，是“荣禧堂”；后有一行小字：“某年月日书赐荣国公贾源”，又有“万幾宸翰”之宝。大紫檀雕螭案上，设着三尺多高青绿古铜鼎，悬着待漏随朝墨龙大画，一边是錾金彝，一边是玻璃盆。

Entering the main room, I looked up and saw a great blue board framed in gilded dragons. On the plaque, there were two big words "Jubilee Hall"; Then there is a line of small characters: "on a certain date, this was given to Source Merchant, the Duke of Honor", and there was the treasure of Emperor's handwriting. On the large red sandalwood table that carved with dragon, there was a green bronze tripod more than three feet high, hanging a large ink dragon painting that seemed to attend the imperial court session in the early morning, with gilded wine vessels on one side and a glass basin on the other.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 08:11, 18 December 2021 (UTC)

there was a green bronze tripod more than three feet high, hanging a large ink dragon painting that seemed to attend the imperial court session in the early morning, with gilded wine vessels on one side and a glass basin on the other.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 12:05, 19 December 2021 (UTC)

==颜莉莉 Yán Lìlì 国别女 202120081537==

地下两溜十六张楠木圈椅。又有一副对联，乃是乌木联牌镶着錾金字迹，道是：座上珠玑昭日月，堂前黼黻焕烟霞。下面一行小字是“世教弟勋袭东安郡王穆莳拜手书”。原来王夫人时常居坐宴息也不在这正室中，只在东边的三间耳房内。

On the ground two rows of 16 nanmu armchairs. There is also a pair of couplets, ebony couplet inset with gold handwriting, it said:The pearl and jade in the seat can shine with the sun and the moon; The people in front of the lobby wearing official clothes, its colors like clouds like clouds. The next line is written by Mu Shibai, the hereditary king of Dongpyeong County, who is a brother who has been taught by your family for generations.For Lady King often sat and reposed not in this main room, but in the three eastern rooms.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 03:36, 12 December 2021 (UTC)

Since Lady King seldom sat in this main hall but used three rooms on the east side for relaxation.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:04, 14 December 2021 (UTC)

==颜子涵 Yán Zǐhán 国别女 202120081538==

于是嬷嬷们引黛玉进东房门来。临窗大炕上铺着猩红洋毯，正面设着大红金钱蟒引枕，秋香色金钱蟒大条褥；两边设一对梅花式洋漆小几：左边几上摆着文王鼎，鼎旁匙箸、香盒；右边几上摆着汝窑美人觚，里面插着时鲜花草。

So that the nannies led Mascara Jade Forest through the door of the eastern wing. The large kang by the window was covered with a scarlet foreign rug. In the middle were red back-rests and turquoise bolsters, both with dragon-design medallions, and a long greenish yellow mattress also with dragon medallions. On the two sides， stood one of a pair of small teapoys of foreign lacquer of plum-blossom pattern. On the left-hand table were a tripod, spoons, chopsticks and an incense container; On the right-hand table were a slender-waisted porcelain vase from the Ruzhou Kiln in which were placed seasonable flowers.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 09:48, 14 December 2021 (UTC)

Thereupon,the nannies led Mascara Jade Forest through the door of the eastern wing. The large kang by the window was covered with a scarlet foreign rug. In the middle were red back-rests and turquoise bolsters, both with dragon-design medallions, and a long greenish yellow mattress also with dragon medallions. On the two sides stood on a pair of small teapoys of foreign lacquer of plum-blossom pattern. On the left-hand table were a tripod, spoons, chopsticks and an incense container; On the right-hand table were a slender-waisted porcelain vase from the Ruzhou Kiln in which were placed seasonable flowers.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:47, 14 December 2021 (UTC)

==阳佳颖 Yáng Jiāyǐng 国别女 202120081540==

地下面，西一溜四张大椅，都搭着银红撒花椅搭，底下四副脚踏；两边又有一对高几，几上茗碗、瓶花俱备。其馀陈设，不必细说。老嬷嬷让黛玉上炕坐。炕沿上却也有两个锦褥对设。

On the floor on the west side of the room, were four chairs in a row, all of which were covered with antimacassars, embroidered with silverish-red flowers.Beneath them stood four footstools. On either side, was also a pair of high teapoys which were covered with teacups and flower vases.The rest of the room need not be described in detail.
The nannies urged Mascara Jade Forest to sit on the kang, on the edge of which were two brocade cushions. --[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:42, 14 December 2021 (UTC)

On the floor facing on the west wall were four chairs in a row, all of which were covered with ornamented cloth embroidered with silverish-red flowers.Beneath them stood four footstools. On either side were a pair of high table with teacups and flower vases.Other decorations in the rest of the room need not be described in detail.The nannies urged Mascara Jade Forest to sit on the kang, on the edge of which were two brocade cushions.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 09:50, 18 December 2021 (UTC)

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

黛玉度其位次，便不上炕，只就东边椅上坐了。本房的丫鬟忙捧上茶来。黛玉一面吃了，打量这些丫鬟们妆饰衣裙，举止行动，果与别家不同。

Considering her status in the family, Daiyu sat on one of the chairs on the east side instead of sitting on the ''kang''. The maids in attendance served tea immediately. When she was sipping the tea, she observed the maids’ make-up,clothes and deportment, which, her thought, were indeed quite different from those in other families.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 09:38, 18 December 2021 (UTC)

Considering her status in the family, Mascara Jade sat on one of the chairs on the east side instead of sitting on the ''kang''. The maids in attendance served tea immediately.Sipping the tea, she observed the maids’ make-up,clothes and deportment, which, her thought, were indeed quite different from those in other families.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 14:18, 18 December 2021 (UTC)

==杨堃 Yáng Kūn 法语语言文学女 202120081542==

茶未吃了，只见一个穿红绫袄、青绸掐牙背心的一个丫鬟走来笑道：“太太说，请林姑娘到那边坐罢。”老嬷嬷听了，于是又引黛玉出来，到了东廊三间小正房内。

Before the tea was drunk, a servant girl wearing a red silk jacket and a green satin vest came up and smiled, "Lady King invited Miss Forest to come and sit over there." When the old Nanny heard this, she led Mascara Jade out again and went to the third small main room on the east porch.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:33, 12 December 2021 (UTC)

Before they drank tea over, a servant girl in a red silk jacket and a green satin vest came up and smiled, "Mrs. Wang invited Miss Lin to come and sit over there." When the old Mammy heard this, she led Daiyu out again to the third small main room on the east porch.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:10, 12 December 2021 (UTC)

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

正面炕上横设一张炕桌，上面堆着书籍、茶具；靠东壁面西设着半旧的青缎靠背、引枕。王夫人却坐在西边下首，亦是半旧青缎靠背、坐褥。见黛玉来了，便往东让。

On the kang there was a kang table on which books and tea sets piled up. Half new backrests and pillows made of blue satins were set on the east side of the wall. However, Mrs. Wang set at the foot of the west wall where half new backrests and mattresses made of blue satins were displayed. Mrs. Wang moved to the east side when she saw Lin Daiyu come in.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:11, 12 December 2021 (UTC)

On the kang lies a kang table,on which books and tea sets are piled up. Half new backrests and pillows made of blue satins were put on the east side of the wall. However, Mrs. Wang sat at the foot of the west wall where half new backrests and mattresses made of blue satins are displayed. Mrs. Wang moved to the east side when she saw Daiyu coming in.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 12:11, 19 December 2021 (UTC)

==叶维杰 Yè Wéijié 国别男 202120081544==

黛玉心中料定这是贾政之位。因见挨炕一溜三张椅子上也搭着半旧的弹花椅袱，黛玉便向椅上坐了。王夫人再三让他上炕，他方挨王夫人坐下。王夫人因说：“你舅舅今日斋戒去了，再见罢。

Daiyu thought it must be Jia Zhen's seat. Seeing that there were half-old bouncing chair blankets on the three chairs slid by the kang, Daiyu sat on the chair. Mrs. Wang repeatedly asked him to go to the kang, then she sat down next to Mrs. Wang. Mrs. Wang said: "Your uncle has gone fast today, goodbye.

Mascara Jade thought that this was Master Merchant's seat， because she saw that there were three chairs next to the bed with a half-used chair, so Mascara Jade sat down on the chair. She sat down next to Lady King after she had asked her to go to the bed again and again. Lady King said, "Your uncle went to fast today, see you later.”--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 12:29, 19 December 2021 (UTC)Yi Yangfan

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

只是有句话嘱咐你：你三个姐妹倒都极好，以后一处念书认字，学针线，或偶一玩笑，却都有个尽让的。我就只一件不放心：我有一个孽根祸胎，是家里的混世魔王，今日因往庙里还愿去，尚未回来，晚上你看见就知道了。

I just have one thing to tell you: your three sisters are all very good, and in the future they will study and learn to read and write together, and learn to sew, or occasionally play jokes, but all of them will do their best. There is only one thing I am not sure about: I have a sinful child who is the evil one in my family, and he has not returned yet because he has gone to the temple to pay his respects.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 02:19, 13 December 2021 (UTC)Yi Yangfan

I just want to remind you: your sisters are very kind , and in the future you will study together, and learn to read and write and learn to sew. Sometimes you will play jokes at each other, but you will be very tolerant to each other. There is only one thing I am worried about: there is a naughty boy in our family, and he has not returned yet because he has gone to the temple to redeem his wishes, you will see him in the evening.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 07:45, 13 December 2021 (UTC)

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

你以后总不用理会他，你这些姐姐妹妹都不敢沾惹他的。”黛玉素闻母亲说过：“有个内侄，乃衔玉而生，顽劣异常，不喜读书，最喜在内帏厮混。外祖母又溺爱，无人敢管。”

“You can ignore him later and none of your sisters dare to bother him. ” Daiyu heard from her mother: “I have a nephew, who was born with jade in his mouth. He is very naughty and don’t like to read, but prefer to play with girls. His grandma has always spoiled him so that everyone let him be. ”--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 07:27, 13 December 2021 (UTC)

"You can ignore him in future because none of your sisters dare to mess up with him". Mascara Jade has long heard from her mother about him: "I have a nephew, born with a jade in his mouth, who is very naughty and doesn’t like to read, but prefers to hang around with girls. His grandma has always spoiled him so that everyone let him be". --[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 12:31, 19 December 2021 (UTC)

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

今见王夫人所说，便知是这位表兄。一面陪笑道：“舅母所说，可是衔玉而生的？在家时，记得母亲常说：这位哥哥比我大一岁，小名就叫宝玉，性虽憨顽，说待姊妹们却是极好的。

What Lady King described today is the cousin for sure. Mascara Jade said while smiling:" Is the person you just mentioned my cousin born with a jade? I remember when I was at home my mother often said that the cousin nicknamed Precious Jade is one year older than me. Although he is a little mischievous, he is very friendly with his sisters".--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 14:27, 12 December 2021 (UTC)

Who Lady King described today is the cousin for sure. Mascara Jade said while smiling:" Is this my cousin you just mentioned born with a jade? I remember when I was at home my mother often said that the cousin nicknamed Precious Jade is one year older than me. Although he is a little mischievous, he is very friendly with his sisters".--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 12:06, 19 December 2021 (UTC)

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

况我来了，自然和姊妹们一处，弟兄们是另院别房，岂有沾惹之理？”王夫人笑道：“你不知道原故。他和别人不同，自幼因老太太疼爱，原系和姐妹们一处娇养惯了的。

Now I come here,undoubtfully I live with my sisters. The brothers are in some different houses. Is there any reason to mess with them?" Lady King smiled and said, "You don't know. Unlike the others, he had been coddled by his sisters since he was young for the love of Grandma Merchant.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 15:30, 13 December 2021 (UTC)

Now I come here,undoubtfully I live with my sisters. The brothers are in some different houses. Is there any reason to mess with them?" Lady King smiled and said, "You don't know the reason. Unlike others, he had been coddled by his sisters since he was young for the love of Grandma Merchant.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 03:20, 15 December 2021 (UTC)

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

若姐妹们不理他，他倒还安静些；若一日姐妹们和他多说了一句话，他心上一喜，便生出许多事来：所以嘱咐你别理会他。他嘴里一时甜言蜜语，一时有天没日，疯疯傻傻，只休信他。”黛玉一一的都答应着。

“If the sisters ignore him, he is a bit quieter: if one day the sisters talk to him more, he is so happy that he will stir up many troubles: so I tell you to ignore him. He may talk sweetly for a while, and he may be crazy and silly for a while, just don't believe him.” Daiyu replied one by one.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 08:45, 13 December 2021 (UTC)
If the sisters ignore him, he will be quiet; if one day they talk to him more, he will be happy, and many things will happen: so I tell you to ignore him. His mouth a sweet talk, a moment there is no day, crazy and silly, just do not believe him. Daiyu agreed one by one.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 12:06, 19 December 2021 (UTC)

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

忽见一个丫鬟来说：“老太太那里传晚饭了。”王夫人忙携了黛玉，出后房门，由后廊往西，出了角门，是一条南北甬路，南边是倒座三间小小抱厦厅，北边立着一个粉油大影壁，后有一个半大门，小小一所房屋。
Suddenly see a servant girl to say: "old lady there spread supper." Lady King and Mascara Jade Forest went out of the back door, leading from the back corridor to the west and out of the corner gate. There was a north-south corridor, with three small rooms in the south, a big screen wall of powder and oil in the north, and a small house with a half gate behind.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 13:53, 12 December 2021 (UTC)

Suddenly a servant girl said, "the old lady has passed on dinner." Lady King hurriedly took Mascara Jade Pearl out of the back door, from the back porch to the west, out of the corner door. It is a North-South corridor. In the south is the inverted three small balcony halls. In the north is a oil-powdered large shadow wall, followed by a half gate and a small house.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 12:28, 13 December 2021 (UTC)

==张扬 Zhāng Yáng 国别男 202120081551==

王夫人笑指向黛玉道：“这是你凤姐姐的屋子。回来你好往这里找他去，少什么东西，只管和他说就是了。”这院门上也有几个才总角的小厮，都垂手侍立。王夫人遂携黛玉穿过一个东西穿堂，便是贾母的后院了。

Lady King smiled at Mascara Jade Pearl and said: "This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her." On the gate of the courtyard, there were also several young boys who were only in their childhood, all standing with their hands down. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 07:30, 11 December 2021 (UTC)

Lady King smiled at Mascara Jade Pearl and said: "This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her." On the gate of the courtyard,there were also a few young boys on the door of this courtyard, all standing with their hands down.. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.

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

于是进入后房门，已有许多人在此伺候，见王夫人来，方安设桌椅；贾珠之妻李氏捧杯，熙凤安箸，王夫人进羹。贾母正面榻上独坐，两旁四张空椅。熙凤忙拉黛玉在左边第一张椅子上坐下，黛玉十分推让。

So they entered the back room, where many people were already waiting, and when they saw Lady King coming, they placed the table and chairs; Li, wife of Treasure Merchant, held the cup, Lady King placed the chopsticks, and Splendid Phoenix King drank the soup. Grandma Merchant was sitting alone on a couch, flanked by four empty chairs. Splendid Phoenix King was busy pulling Mascara Jade Forest to sit in the first chair on the left, but Mascara Jade Forest was too embarrassed to sit.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 00:57, 13 December 2021 (UTC)

So they entered the back room, where many people were already waiting, and when they saw Lady King coming, they placed the table and chairs; Li, wife of Treasure Merchant, held the cup, Lady King placed the chopsticks, and Splendid Phoenix King drank the soup. Grandma Merchant was sitting alone on a couch, flanked by four empty chairs. Splendid Phoenix King was busy pulling Mascara Jade Forest to sit in the first chair on the left, but Mascara Jade Forest was too embarrassed to sit.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 03:42, 13 December 2021 (UTC)

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

贾母笑道：“你舅母和嫂子们是不在这里吃饭的。你是客，原该这么坐。”黛玉方告了坐，就坐了。贾母命王夫人也坐了。迎春姊妹三个告了坐，方上来：迎春坐右手第一，探春左第二，惜春右第二。

Grandama Merchant said with a smile, "your aunt and sister-in-law don't eat here. You are a guest. You should have sat here." Mascara Jade Forest then sat down. Grandama Merchant ordered Lady King to sit down. The three sisters of Spring Pleasure Merchant sat down：Spring Pleasure Merchant sat first on the right hand, Seeking-Spring Merchant second on the left, and Cherishing Spring Merchant second on the right.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:36, 11 December 2021 (UTC)

Grandama Merchant said with a smile, "your aunts and sisters-in-law don't eat here. You are a guest. You should have sat here." Mascara Jade Forest then sat down. Grandama Merchant ordered Lady King to sit down. The three sisters of Spring Pleasure Merchant were asked to sit down: Spring Pleasure Merchant sat first on the right hand, Seeking-Spring Merchant second on the left, and Cherishing Spring Merchant second on the right.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 02:02, 12 December 2021 (UTC)

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

旁边丫鬟执着拂尘、漱盂、巾帕，李纨、凤姐立于案边布让；外间伺候的媳妇、丫鬟虽多，却连一声咳嗽不闻。饭毕，各各有丫鬟用小茶盘捧上茶来。当日林家教女以惜福养身，每饭后必过片时方吃茶，不伤脾胃；

Standing at the table, the servant girls held the horsetail whisks, vessels for mouthwash and handkerchiefs. Silk Plum and Splendid Phoenix King sent dishes, refreshments to guests and invited them to eat. Though there were many servant girls in the outer room, they could not be heard to utter a sound. When the meal was over, each servant girl brought tea with a small tray. Mascara Jade Forest took tea after each meal to keep health and not hurt her spleen and stomach.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 01:55, 12 December 2021 (UTC)

The servant girls are standing at the table with the horsetail whisks, vessels for mouthwash and handkerchiefs. Silk Plum and Splendid Phoenix King sent dishes, refreshments to guests and invited them to eat. Though there were many servant girls in the outer room, they could not be heard to utter a sound. When the meal was over, each servant girl brought tea with a small tray. Mascara Jade Forest took tea after each meal to keep health and not hurt her spleen and stomach.--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 09:23, 13 December 2021 (UTC)

[[Media:Example.ogg]]==周玖 Zhōu Jiǔ 英语语言文学（英美文学）女 202120081555==

今黛玉见了这里许多规矩不似家中，也只得随和些。接了茶，又有人捧过漱盂来，黛玉也漱了口，又盥手毕。然后又捧上茶来，这方是吃的茶。贾母便说：“你们去罢，让我们自在说说话儿。”
Mascara Jade Forest saw many rules here are not like her home. She was also easy-going. After receiving the tea, someone else took a gargle bowl for her. Mascara Jade Forest also rinsed her mouth and finished washing her hands again. Then tea which was for drinking was brought in. Then Grandma Merchant said to servants , "You all go and let's have a talk in our own comfort."

Now Mascara Jade saw many rules here are not like the rules of her home. She can only be easygoing. She caught the teacup. Some domestics came over with a mouthwash basin. Mascara Jade gargled and washed her hands. Then the servant brought back tea, and this was tea for drinking.Then Dowager Lady Jia said to servant, "You all go and let's have a talk in our own comfort."--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 10:47, 13 December 2021 (UTC)

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

王夫人遂起身，又说了两句闲话儿，方引李、凤二人去了。贾母因问黛玉念何书，黛玉道：“刚念了《四书》。”黛玉又问姊妹读何书，贾母道：“读什么书，不过认几个字罢了。”

Lady King stood up and said something idle, then led Lady Plum and Splendid Phoenix King to leave. When Dowager Lady Jia asked Mascara Jade what books she had read, Mascara Jade replied, "I just have read the ''Four Books''." When Mascara Jade asked her sisters what books they read, Dowager Lady Jia said, "They don't read anything. They only know a few words."--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 09:25, 13 December 2021 (UTC)

Lady King rose as soon as she heard these words, and having made a few irrelevant remarks, she led the way and left the room along with the two ladies, Mrs. Li and Splendid Phoenix king.Grandma Merchant, having inquired of Mascara Jade what books she was reading, "I have just begun reading the Four Books," Mascara Jade replied. "What books are my cousins reading?" Mascara Jade went on to ask. "Books, you say!" exclaimed Grandma Merchant; "why all they know are a few characters, that's all."--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:15, 15 December 2021 (UTC)

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

一语未了，只听外面一阵脚步响，丫鬟进来报道：“宝玉来了。”黛玉心想：“这个宝玉，不知是怎样个惫懒人呢。”及至进来一看，却是位青年公子：头上戴着束发嵌宝紫金冠，齐眉勒着二龙戏珠金抹额；

The sentence was barely out of her lips, when a continuous sounding of footsteps
was heard outside, and a waiting maid entered and announced that Precious Jade was
coming. Mascara Jade was speculating in her mind how it was that this Precious Jade had
turned out such a good-for-nothing fellow, when he happened to walk in.
He was, in fact, a young man of tender years, wearing on his head, to hold his
hair together, a cap of gold of purplish tinge, inlaid with precious gems.
Parallel with his eyebrows was attached a circlet, embroidered with gold, and
representing two dragons snatching a pearl.
--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 08:36, 13 December 2021 (UTC)

After a word, only a sound of footsteps outside, the maid came in and reported: "Baoyu is here." Daiyu thought to herself: "This Baoyu, I don't know what a tired lazy person." When she came in, she was a young man. He wears a purple and gold crown with hair inlaid on his head, and his forehead are tied with gold frontlet（The shape is two dragons playing with pearled）.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 15:21, 11 December 2021 (UTC)

==周清 Zhōu Qīng 法语语言文学女 202120081558==

一件二色金百蝶穿花大红箭袖，束着五彩丝攒花结长穗宫绦，外罩石青起花八团倭缎排穗褂；登着青缎粉底小朝靴。面若中秋之月，色如春晓之花；鬓若刀裁，眉如墨画，鼻如悬胆，睛若秋波。

A big red arrow sleeve decorated with two-color golden butterfly flowers, is tied with multicolored silk and knotted with long spikes, and is covered with azurite and satin rowed gowns; it wears small green satin and powder-soled boots. The face is as round and beautiful as the moon of Mid-Autumn Festival, the complexion is like a flower of spring dawn; the temples are like a knife cut, the eyebrows are like ink painting, the nose is like a hanging gall, and the eyes are like autumn waves.

A big red arrow sleeve decorated with two-color golden butterfly flowers, is tied with multicolored silk and knotted with long spikes, and is covered with azurite and satin rowed gowns; he wore small green satin and powder-soled boots. The face is as round and beautiful as the moon at mid-autumn, the complexion is like a flower of in spring; the temples as if chiselled with a knife, the eyebrows are like ink painting, the nose is like a a well-cut and shapely nose, and the eyes are like vernal waves.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:19, 13 December 2021 (UTC)

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

虽怒时而似笑，即嗔视而有情。项上金螭缨络，又有一根五色丝绦，系着一块美玉。黛玉一见，便吃一大惊，心中想道：“好生奇怪：倒像在那里见过的，何等眼熟！”只见这宝玉向贾母请了安，贾母便命：“去见你娘来。”

His angry look even resembled a smile; his glance was full of sentiment.Round his neck he had a gold dragon necklet with a fringe; also a cord of variegated silk, to which was attached a piece of beautiful jade. When Mascara Jade Forest saw this, she was shocked."How very strange." she was reflecting in her mind; "it would seem as if I had seen him somewhere or other, for his face appears extremely familiar to my eyes;" Precious Jade Merchant greeted Grandma Merchant "Go and see your mother and then come back," remarked her venerable ladyship.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:08, 13 December 2021 (UTC)

His angry look somentimes even resembled a smile; his glance was full of sentiment.Round his neck he had a gold dragon necklet with a fringe; also a cord of silk of five colours, to which was attached a piece of beautiful jade. When Mascara Jade Forest saw this, she was shocked and thought to herself: "How strange it is." she was reflecting in her mind; "as if I had seen him somewhere or other, for his face appears extremely familiar to my eyes;" Precious Jade Merchant greeted Lady Dowager "Go and see your mother and then come back."--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 11:46, 16 December 2021 (UTC)

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

即转身去了。一会再来时已换了冠带：头上周围一转的短发都结成小辫，红丝结束，共攒至顶中胎发，总编一根大辫，黑亮如漆，从顶至梢，一串四颗大珠，用金八宝坠脚；身上穿着银红撒花半旧大袄；仍旧带着项圈、宝玉、寄名锁、护身符等物；

Then turned around and went. He has changed the crown band when coming back for a while: the short hair around the head is braided, the red silk ends, and the hair is gathered up to the top of the fetus. The chief editor is a big braid, black and shiny, from top to tip , A string of four large beads, with gold eight treasures falling to the feet; wearing a silver-red half-old coat with flowers; still wearing collars, gems, locks, amulets, etc.;

He turned away. When he came back later, he had changed his crown belt: the short hair around his head was braided, and the red silk ended. He saved up to the top and middle fetal hair. The chief editor had a big braid, black and bright as paint, a string of four big beads from the top to the tip, and dropped his feet with gold eight treasures; He was wearing a silver red flower sprinkled semi-old coat; Still wearing collars, precious jade, name sending locks, amulets, etc--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 12:56, 16 December 2021 (UTC)

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

下面半露松绿撒花绫裤，锦边弹墨袜，厚底大红鞋。越显得面如傅粉，唇若施脂；转盼多情，语言若笑。天然一段风韵，全在眉梢；平生万种情思，悉堆眼角。看其外貌，最是极好，却难知其底细。
His lower body showed loose green flower pants, cotton socks and a pair of thick soled red shoes. This makes him look more beautiful. The lips seem to have been powdered with rouge; When he speaks, he often has a smile on his face, and his eyebrows can convey affection. A person's style and temperament, including what he thinks, can be conveyed through his eyes. His appearance is very good-looking, but I don't know whether he has real connotation.

==Nadia 202011080004==

后人有《西江月》二词批的极确，词曰：

==Mahzad Heydarian 玛莎 202021080004==

无故寻愁觅恨，有时似傻如狂。
Seeking sorrow and hate for no reason, sometimes seems stupid and crazy.

==Mariam toure 2020GBJ002301==

纵然生得好皮囊，腹内原来草莽。

==Rouabah Soumaya 202121080001==

潦倒不通庶务，愚顽怕读文章。

I'm not able to get through general affairs, and I'm afraid of reading articles.

==Muhammad Numan 202121080002==

行为偏僻性乖张，那管世人诽谤。
He who behaves in a perverse way has no control over the slander of course.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 03:29, 14 December 2021 (UTC)

==Atta Ur Rahman 202121080003==

又曰：富贵不知乐业，贫穷难耐凄凉。
It is also known that wealth does not know pleasure and happiness, and poverty cannot endure loneliness.

==Muhammad Saqib Mehran 202121080004==

可怜辜负好时光，于国于家无望。
Translation: The poor lived up to the good times, and the country was hopeless at home.

==Zohaib Chand 202121080005==

天下无能第一，古今不肖无双。

==Jawad Ahmad 202121080006==

寄言纨袴与膏粱，莫效此儿形状。

English; the author is to give some suggestion to playboys of high official that they do not follow the example of Jia Baoyu.

==Nizam Uddin 202121080007==

却说贾母见他进来，笑道：“外客没见就脱了衣裳了，还不去见你妹妹呢。”

But she said that Mother Jia saw him come in and smiled: "The foreigner took off her clothes without seeing him, so she won't go to see your sister."

==Öncü 202121080008==

宝玉早已看见了一个袅袅婷婷的女儿，便料定是林姑妈之女，忙来见礼。

Precious Jade had already seen a daughter with a gentle posture, thought might be the daughter of Aunt Lin, then hurried to meet her.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:17, 13 December 2021 (UTC)

==Akira Jantarat 202121080009==

归了坐细看时，真是与众各别。

When I look at you carefully, I think you are different.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 09:59, 13 December 2021 (UTC)

When I returned to take a closer look, it was really different. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 07:41, 12 December 2021 (UTC)

==Benjamin Wellsand 202111080118==

只见：两弯似蹙非蹙笼烟眉，一双似喜非喜含情目。

I saw two bends like the frowning of smoked eyebrows, at first they seemed happy but not really happy, yet affectionate eyebrows. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 07:41, 12 December 2021 (UTC)

I saw: two curved eyebrows that looked like a frown, a pair of eyebrows that seemed to be happy or not. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 23:18, 12 December 2021 (UTC)

==Asep Budiman 202111080020==

态生两靥之愁，娇袭一身之病。

The sorrow of the two distresses, the disease of the whole body. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 23:17, 12 December 2021 (UTC)

The sorrow of two distresses, spoiled - the disease of the whole body.------Ei Mon Kyaw [[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:15, 15 December 2021 (UTC)--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:15, 15 December 2021 (UTC)Ei Mon Kyaw

==Ei Mon Kyaw 202111080021==

泪光点点，娇喘微微。

Tears shone a little, and she breathed slightly.--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 15 December 2021 (UTC)Ei Mon Kyaw -----Ei Mon Kyaw[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 15 December 2021 (UTC)
The tears droped, and she breathed slowly. --[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 11:58, 15 December 2021 (UTC)

The eyes twinkled with tears and she breathed slightly.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 12:18, 19 December 2021 (UTC)

20211215 homework

2021-12-30T05:13:49Z

Wei Zhaoyan: /* 魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学）女 202120081527 */

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

==陈静 Chén Jìng 国别女 202020080595==

鼎：古代食器。胡羼(chàn忏) ──胡闹。羼：本义为群羊杂居。引申为杂乱不纯，乱七八糟。

Tripod (Ding in Chinese): ancient food utensil. Hu Chan in Chinese means nonsense. Chan in Chinese originally means that the sheep live together, whose extensive meaning is mess.
----

Tripod: ancient food utensil. Hi Chan - nonsense. The original meaning is that sheep live together. It is extended meaning to be messy, impure and messy.
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:25, 12 December 2021 (UTC)

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

抓──即“抓周”，亦称“试儿”、“试周”。旧俗于婴儿满周岁时，父母摆列各种小件器物，任其抓取，以测试其秉性、智愚、志趣。此俗始于江南，后亦传到北方。

Grasping -- namely "grasping the week", also known as "trying the child" and "trying the week". The old custom is that when a baby reaches the age of one year, his parents arrange all kinds of small objects and let him grab them to test his temperament, intelligence and interest. This custom began in the south of the Yangtze River and later spread to the north.
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:23, 12 December 2021 (UTC)

Catch ─ ─ means "catch the week", also known as "test" and "test week". The old custom is when the baby reaches one year old, the parents arrange all kinds of small utensils and let them grab them to test their disposition, wisdom and ambition. This custom began in the south of the Yangtze River and then spread to the north.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:41, 11 December 2021 (UTC)

==曾俊霖 Zēng Jùnlín 国别男 202120081478==

事见北朝周·颜之推《颜氏家训·风操》：“江南风俗，儿生一期(年)，为制新衣，盥浴装饰，男则用弓矢纸笔，女则刀尺针缕(线)，并加饮食之物及珍宝服玩，置之儿前，观其发意所取，以验贪亷智愚，名之为试儿。”

It is said in Yan's family instructions and customs by Yan Zhitui of the Northern Dynasty that "the custom in the south of the Yangtze River was born in the first year. It was to make new clothes and decorate bathrooms. Men used bows and arrows, paper and pens, women used knives, rulers, needles and threads (lines), and played with food and precious clothes. They were placed in front of their children and looked at what they wanted to take to test their greed, wisdom and stupidity. They were called test children."--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:37, 11 December 2021 (UTC)

It is said in Yan's family instructions and customs by Yan Zhitui of ''the Northern Dynasty'' that the custom in the south of the Yangtze River was born in the first year. It was to make new clothes and decorate bathrooms. Men used bows and arrows, paper and pens, women used knives, rulers, needles and threads (lines), and played with food and precious clothes. They were placed in front of their children and looked at what they wanted to take to test their greed, wisdom and stupidity. They were called test children."--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 12:20, 20 December 2021 (UTC)Chen Huini

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

(宋·赵彦卫《云麓漫钞》卷二也有相同记载)又宋·叶真《爱日斋丛钞》卷一：“《玉壶野史》记曹武惠王(曹彬)始生周晬日，父母以百玩之具罗于席，观其所取。

(Song · Zhao Yanwei's ''Yunlu Manchao'', Volume 2 has the same record) and Song · Ye Zhen, Volume 1, ''Ai Ri Zhai Cong Chao'': "''In the History of Jade Pot'', when King Cao Wu hui (Cao Bin) was on the year ahead in the first week of his birth, his parents viewed the year he took with a hundred toys on the table.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 12:24, 20 December 2021 (UTC)Chen Huini

（also recorded in Volume 2 of ''Yunlu Essay'' by Zhao Yanwei，Song Dynasty） Volume 1 of ''Ai Rizhai Essay'' by Ye Zhen，Song Dynasty：“ ''History of Jade Pot'' records that King Wuhui（Cao Bin）'s parents put many toys on the table and observed his choice when he was 100 days years old.”--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 00:53, 22 December 2021 (UTC)

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

武惠王左手提干戈，右手提俎豆，斯须取一印，馀无所视。曹，真定人。江南遗俗乃在此(指真定)，今俗谓试周是也。”

Lord Wuhui holds weapons with his left hand and dinnerware in his right hand.Then he looks at a seal and graps it without seeing anything else.Lord Wuhui, whose first name is Cao, comes from Zhen Ding county. The place is called Shi Zhou now, on whiche Jiang Nan's old cities lay.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 00:23, 14 December 2021 (UTC)

Lord Wuhui holds weapons with his left hand and dinnerware in his right hand.Then he looks at a seal and graps it without seeing anything else.Lord Wuhui, whose first name is Cao, comes from Zhen Ding county. The place is so-called Shizhou now, on which ancient Jiangnan lay.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:07, 14 December 2021 (UTC)

==陈心怡 Chén Xīnyí 翻译学女 202120081481==

致知格物──语出《礼记·大学》：“致知在格物，格物而后知至。”意谓要想获得知识，必须探究事物的道理。致：获得，取得。

Zhi Zhi Ge Wu- ''From The Book of Rites·Daxue'': "Zhizhi lies in Gewu, and after Gewu, knowledge arrives." It means that in order to gain knowledge, one must inquire into the truth of things. Zhi: To acquire, to obtain.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:18, 12 December 2021 (UTC)

Zhi Zhi Ge Wu - originated from ''The Book of Rites·Daxue'': "The intention of Zhizhi refers to Gewu, and after the process of Gewu, knowledge will be obtained." It means that in order to gain knowledge, one must inquire into the truth of things. Zhi: to acquire, and to obtain.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 14:45, 20 December 2021 (UTC)

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

格：推究，探究，探讨。尧……张──尧、舜、禹、汤、文、武，即唐尧、虞舜、夏禹、成汤、周文王、周武王，是从上古至西周的明君；

Ge: means deduction, exploration and discussion. Yao...Zhang──Yao, Shun, Yu, Tang, Wen, Wu, namely Tang Yao, Yu Shun, Xia Yu, Cheng Tang, Emperor Wen of Zhou Dynasty, Emperor Wu of Zhou Dynasty, they are all wise emperors from ancient times to the Zhou Dynasty;--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 13:11, 11 December 2021 (UTC)

Ge: means deduction, exploration and discussion. Yao...Zhang──Yao, Shun, Yu, Tang, Wen, Wu, namely Tang Yao, Yu Shun, Xia Yu, Cheng Tang, Emperor Wen of Zhou Dynasty, Emperor Wu of Zhou Dynasty, they are all wise emperors from ancient times to Zhou Dynasty;--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 12:13, 19 December 2021 (UTC)

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

周、召，即周公旦、召公奭，都是西周的贤相；孔、孟，即孔丘(通称孔子)、孟轲(通称孟子)，都是儒学的创始人；董、韩、周、程、朱、张，即汉代董仲舒、唐代韩愈、北宋周敦颐、北宋程颢和程颐兄弟、南宋朱熹、北宋张载，都是儒学理论家。

Zhou, called the Duke of Zhou, and Zhao, called Duke of Shi, are both talented prime ministers (in feudal China); Kong (generally called Confucius) and Meng (generally called Mencius) are both founders of Confucianism; Dong (Dong Zhongshu in Han Dynasty), Han (Han Yu in Tang Dynasty), Zhou (Zhou Dunyi in the Northern Song Dynasty), Cheng (Cheng Jing and Cheng Yi brothers in the Northern Song Dynasty), Zhu (Zhu Xi in the Southern Song Dynasty), Zhang (Zhang Zai in the Northern Song Dynasty) are all Confucian theorists. --[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 07:19, 12 December 2021 (UTC)

Zhou and Zhao are respectively the Duke of Zhou and the Duke of Shi and both are talented prime ministers of the Western Zhou Dynasty; both Kong (generally called Confucius) and Meng (generally called Mencius) are founders of Confucianism; Dong (Dong Zhongshu in Han Dynasty), Han (Han Yu in Tang Dynasty), Zhou (Zhou Dunyi in the Northern Song Dynasty), Cheng (Cheng Jing and Cheng Yi brothers in the Northern Song Dynasty), Zhu (Zhu Xi in the Southern Song Dynasty), Zhang (Zhang Zai in the Northern Song Dynasty) are all Confucian theorists. --[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 08:09, 12 December 2021 (UTC)

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

这些人皆是儒家竭力推崇的人物。蚩尤……秦桧──蚩尤、共工，都是传说中上古最凶恶的部族首领；桀、纣、始皇，即夏桀、商纣王、秦始皇，都是登峰造极的暴君；

All these people are strong recommended by confucianists such as Chi You(a mythological warrior engaged in fighting with the Yellow Emperor), Qin Hui (a traitor in the Song dynasty in Chinese history)and so on. Among them both Chi You and Gong Gong (the water god in ancient Chinses history and the devil of floods) are the most ferocious tribal chief in the Chinese legend;and all Xia Jie, Shang Zhou and Qin Shi Huang, being respectively the emperor Jie of Xia Dynasty，the emperor Zhou of Shang Dynasty and the first emperor of Qin Dynasty, are extremely tyrannical.

All these people are strongly recommended by Confucianists such as Chi You(a mythological warrior engaged in fighting with the Yellow Emperor), Qin Hui (a traitor in the Song dynasty in Chinese history)and so on. Among them both Chi You and Gong Gong (the water god in ancient Chinses history and the devil of floods) are the most ferocious tribal chief in the Chinese legend;and all Xia Jie, Shang Zhou and Qin Shi Huang, being respectively the emperor Jie of Xia Dynasty，the emperor Zhou of Shang Dynasty and the first emperor of Qin Dynasty, are extremely tyrannical.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 14:13, 19 December 2021 (UTC)

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

王莽、曹操、桓温、安禄山、秦桧，他们分别是汉代、三国、东晋、唐代、南宋人，都是大奸臣乃至叛逆之贼。许由……朝云──许由，传说他是上古时为了逃避帝位而终生隐居的贤人；陶潜(即陶渊明)、阮籍、嵇康、刘伶，都是魏晋时期著名文学家及不与流俗同低昂的独行之士；

Wang Mang, Cao Cao, Huan Wen, An Lushan and Qin Kuei, who were in the Han Dynasty, the Three Kingdoms, the Eastern Jin Dynasty, the Tang Dynasty and the Southern Song Dynasty respectively, were all great treacherous court officials and even traitors. It were Xu You... Zhao Yun -- Xu You who were said a sage who lived in seclusion all his life in order to escape the throne in ancient times. Tao Qian (Tao Yuanming), Ruan Ji, Ji Kang and Liu Ling were all prestigious persons in the Wei and Jin dynasties and mavericks who did not flow along with the turbid currents of the mainstream thought.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 14:10, 19 December 2021 (UTC)

Wang Mang, Cao Cao, Huan Wen, An Lushan and Qin Kuei, who were in the Han Dynasty, the Three Kingdoms, the Eastern Jin Dynasty, the Tang Dynasty and the Southern Song Dynasty respectively, were all great treacherous court officials and even traitors. Xu You... Zhao Yun -- Xu You. It is said that he was a sage who lived in seclusion all his life in order to escape the throne in ancient times. Tao Qian (Tao Yuanming), Ruan Ji, Ji Kang and Liu Ling were all famous writers in the Wei and Jin dynasties and mavericks who did not flow along with the turbid currents of the world.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 11:57, 19 December 2021 (UTC)

==付诗雨 Fù Shīyǔ 日语语言文学女 202120081486==

王谢二族，指东晋王导和谢安，都是显贵；顾虎头，即顾恺之，字虎头，是东晋名画家；陈后主、唐明皇、宋徽宗，都是有才气的风流皇帝；

The Two families of Wang and Xie, namely Wang Dao and Xie An, were both nobility in the Eastern Jin Dynasty. Gu Hutou, also known as Gu Kaizhi, was a famous painter in the Eastern Jin Dynasty. Emperor Chen Shubao of Chen, Emperor Ming of Tang and Emperor Huizong of Song were all talented and romantic emperors.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 10:07, 12 December 2021 (UTC)

The Two families of Wang and Xie, namely Wang Dao and Xie An, were both of the nobility in the Eastern Jin Dynasty. Gu Hutou, also known as Gu Kaizhi, was a famous painter in the Eastern Jin Dynasty. Emperor Chen Shubao of Chen, Emperor Ming of Tang and Emperor Huizong of Song were all talented and romantic emperors. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 01:02, 13 December 2021 (UTC)

==高蜜 Gāo Mì 翻译学女 202120081487==

刘庭芝即刘希夷(字庭芝)、温飞卿即温庭筠(字飞卿)，都是唐代名诗人；米南宫即米芾(南宫为世称)，是北宋名画家；石曼卿即石延年(字曼卿)、柳蓍卿即柳永(字蓍卿)、秦少游即秦观(字少游)，都是北宋著名文学家；

Liu Tingzhi, or Liu Xiyi (courtesy name Tingzhi), Wen Feiqin refers orWen Tingyun (courtesy name Feiqing) are both famous poets of the Tang Dynasty. Mi Nangong, or Mi Fu (nickname Nangong), was a famous painter of the Northern Song Dynasty; Shi Manqing, or Shi Yannian (courtesy name Manqing), Liu Yaoqing, or Liu Yong (courtesy name Yaoqing), and Qin Shaoyou, or Qin Guan (courtesy name Shaoyou), were famous literary scholars of the Northern Song Dynasty.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 01:03, 13 December 2021 (UTC)

Liu Tingzhi, or Liu Xiyi (styled Tingzhi), Wen Feiqin refers orWen Tingyun (styled Feiqing) are both famous poets of the Tang Dynasty. Mi Nangong, or Mi Fu (nickname Nangong), was a famous painter of the Northern Song Dynasty; Shi Manqing, or Shi Yannian (styled Manqing), Liu Yaoqing, or Liu Yong (styled Yaoqing), and Qin Shaoyou, or Qin Guan (styled Shaoyou), were famous literary scholars of the Northern Song Dynasty.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 12:27, 15 December 2021 (UTC)

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

倪云林即倪瓒，字云林，是元代名画家；唐伯虎即唐寅(字伯虎)、祝枝山即祝允明(字枝山)，都是明代名画家、文学家；李龟年(唐代人)、黄幡绰(唐代人)、敬新磨(五代后唐人)，都是名艺人；

Ni Yunlin, i.e Ni Zan, was a famous painter in the Yuan Dynasty. Tang Bohu i.e Tang Yin (styled Bohu), Zhu Zhishan i.e Zhu Yunming (styled Zhishan), are famous Ming dynasty painters, litterateurs; Li Gunian (Tang Dynasty), Huang Fan Chuo (Tang Dynasty), Jing Xinmo (five dynasties later Tang dynasty), are famous artists;--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 12:23, 15 December 2021 (UTC)

Ni Yunlin, or Ni Zan, or Ni Yunlin, was a famous painter in the Yuan dynasty; Tang Bohu (or Tang Yin) and Zhu Zhishan (or Zhu Yunming) were famous painters and literary figures in the Ming dynasty; Li Guinian (of the Tang dynasty), Huang Fanchuo (of the Tang dynasty), and Jing Xinmo (of the post-Tang dynasty of the Five Dynasties) were all famous artists.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 06:39, 15 December 2021 (UTC)

==何芩 Hé Qín 翻译学女 202120081489==

卓文君(已见第一回注)、红拂(先为隋相杨素的侍女，后私奔李靖，也是前蜀·杜光庭《虬髯客传》中的女主人公)、薛涛(唐代才妓)、崔莺(即唐·元稹《会真记》、元·王实甫《西厢记》中的崔莺莺)、朝云(宋代名妓)，他们都是以才貌流芳的名女。

Zhuo Wenjun (see the first chapter note), Hong Fu (she used to be as the servant of the Sui minister Yang Su, then eloping to Li Jing; she was also the heroine of ''The Legend of the Gnarled Man'' by Du Guangting), Xue Tao (a talented prostitute of the Tang Dynasty), Cui Ying (i.e. Cui Yingying of Yuan Zhen's ''The Book of Hui Zhen'' and Wang Shifu's "The Western Chamber"), Zhaoyun (a famous prostitute of the Song Dynasty), they are all famous for their talent and beauty. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 06:32, 15 December 2021 (UTC)

Zhuo Wenjun ( the first chapter noted), Hong Fu (she used to be as the servant of the minister of Sui Dynasty Yang Su, then eloping to Li Jing, also the heroine of ''The Legend of the Gnarled Man'' by Du Guangting), Xue Tao (a talented prostitute of the Tang Dynasty), Cui Ying (namely Cui Yingying of Yuan Zhen's ''The Book of Hui Zhen'' and Wang Shifu's "The Western Chamber"), Zhaoyun (a famous prostitute of the Song Dynasty), they are all famous for their talent and beauty.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 12:25, 19 December 2021 (UTC)

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

成则公侯败则贼──意谓成功的人便能获得公爵、侯爵之类的高官显爵，失败的人便被看作贼寇。表示世上并无公理，世人不讲是非，只论成功与失败，即只以成败论英雄。这里化用了“败则盗贼，成则帝王”。

Success makes the Duke while failure makes the theif ——which means that, If one is successful, he will be worshipped as the Duke. While one is unsuccessful, he will be despised as the thief. It expresses that there is no generally acknowledged truth in the world and people neglect justice and only pay attention to success and failure, that is, the sole measure. It coins a phrase here, “Failure makes a thief， success a king.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 12:25, 19 December 2021 (UTC)

The winner is Duke, the looser is theif means that the person who succeeded would be entitled like Duke and who failed would be dispised as a theif. It presents that there is no generally acknowledged truth in the world and people neglect justice and only pay attention to success and failure, that is, the sole measure. It coins a phrase here, “Failure makes a thief， success a king.”--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:58, 12 December 2021 (UTC)

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

出自宋·邓牧《君道》：“嘻！天下何常之有？败则盗贼，成则帝王。”东床──指女婿。典出《晋书·王羲之传》、南朝宋·刘义庆《世说新语·雅量》：晋朝太尉郗鉴派人至丞相王导家相婿，王丞相令其到东厢房随意挑选。

It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying "how can the world be immutable! The loser is the thief, and the winner is the emperor." Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography" and Liu Yiqing's "Shi Shuo Xin Yu · Elegance" (Southern Song dynasty): In Jin dynasty Tai Wei (supreme government official in charge of military affairs) Xijian sent an underlying to the prime minister Wang Dao's house for taking in a son-in-law, and Prime Minister Wang invite him to choose at will in the east wing.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:43, 12 December 2021 (UTC)

It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying "how can the world be immutable! The loser is the thief, and the winner is the emperor." Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography" and Liu Yiqing's "Shi Shuo Xin Yu · Elegance" (Southern Song dynasty): In Jin dynasty Tai Wei (supreme government official in charge of military affairs) Xijian sent an official to the prime minister Wang Dao's house choosing a son-in-law, and Prime Minister Wang invited him to choose at will in the east wing room.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:51, 12 December 2021 (UTC)

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

此人过去一看，见王家诸郎皆很矜持，唯独王羲之坦腹躺在东床之上，毫不在乎。此人回报，郗鉴即选中王羲之为婿。后世即以“东床”、“东床坦腹”、“东床客”、“东床娇客”等代指女婿。

The man looked over and saw that all the lords of Wang family were very reserved, except Wang Xizhi, who was lying on the east bed and didn't care, showing his belly. In return, Xi Jian chose Wang Xizhi as his son-in-law. Later generations referred to the son-in-law with "East Bed", "East Bed Man Showing Belly", "East Bed Guest", "East Bed Distinguished Guest" and so on.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 04:59, 12 December 2021 (UTC)

The man looked over and saw that all the lords of Wang family were very reserved, except Wang Xizhi, who was lying on the east bed and didn't care, showing his belly. In return, Xi Jian chose Wang Xizhi as his son-in-law. Later generations referred to the son-in-law with "East Bed", "East Bed Man Showing Belly", "East Bed Guest", "East Bed Distinguished Guest" and so on.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 13:54, 19 December 2021 (UTC)Huang Zhuliang

==黄柱梁 Huáng Zhùliáng 国别男 202120081493==

退了一舍之地──意谓退避三十里。形容退居其后，不敢与争。一舍：三十里。这里化用了“退避三舍”之典。He retreat thirty miles. It describes retreating behind and not daring to compete with. Yishe: Thirty Li. The code of "retreat and give up" is used here.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 13:53, 19 December 2021 (UTC)Huang Zhuliang

He retreat thirty miles. It describes retreating behind and not daring to compete with. Yishe: Thirty Li. The code of "retreat and give up" is used here
--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 12:02, 19 December 2021 (UTC)

==金晓童 Jīn Xiǎotóng 202120081494==

典出《左传·僖公二十三年》：春秋时，晋国公子重耳出奔至楚，楚成王礼遇之，因问道：“公子若反(返)晋国，则何以报不谷？”重耳对曰：“若以君之灵，得反晋国，晋、楚治兵，遇于中原，其辟(避)君三舍。”
This story comes from ''Zuo Zhuan · Xi public twenty three years'': During the Spring and Autumn Period (777-476 BC), Childe Chong Er of the state of Jin went to the state of Chu. King Cheng of Chu gave a banquet for Chong er and asked, "If childe returns to the state of Jin, how will you repay me? Chong Er answered, "If I can return to the state of Jin, if the troops of the state of Jin and the state of Chu meet each other in the Central Plains, I will ask the troops of the state of Jin to retreat 90 li.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 06:56, 12 December 2021 (UTC)
This story comes from ''Zuo Zhuan · Xi public twenty three years'': During the Spring and Autumn Period (777-476 BC), Childe Chong Er of the state of Jin went to the state of Chu. King Cheng of Chu gave a banquet for Chong er and asked, "If childe returns to the state of Jin, how will you repay me? Chong Er answered, "If I can return to the state of Jin, if the troops of the state of Jin and the state of Chu meet each other in the Central Plains, I will ask the troops of the state of Jin to retreat 90 li.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 09:18, 29 December 2021 (UTC)

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

后重耳返国为君，晋、楚城濮(在今山东省鄄城县西南)之战，重耳遵守诺言，晋军果“退三舍以辟之”。

第三回

托内兄如海荐西宾接外孙贾母惜孤女

Then Childe Chong Er came back to his country as Emperor. In the battle of Jin and Chu in Chengpu (in southwest of Juancheng county in Shandong province), he keeps his promise, then the army of Jin actually retreated to avoid the war.

Chapter 3

Entrust cousin Ru Hai with recommendations of distinguished gusts; Accept granddaughter lady Dowager takes pity on orphan girl

Then Childe Chong Er came back to his country as Emperor. In the battle of Jin and Chu in Chengpu (in southwest of Juancheng county in Shandong province), he keeps his promise, then the army of Jin actually retreated to avoid the war.

Chapter 3

Entrust cousin Ru Hai with recommendations of distinguished gusts; Welcoming her granddaughter, lady Dowager takes pity on the orphan girl.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 11:13, 20 December 2021 (UTC)

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

却说雨村忙回头看时，不是别人，乃是当日同僚一案参革的张如圭。他系此地人，革后家居，今打听得都中奏准起复旧员之信，他便四下里寻情找门路，忽遇见雨村，故忙道喜。二人见了礼，张如圭便将此信告知雨村。

Rainvillage Merchant, turning round in a hurry, perceived that the speaker was no other than a certain Chang Rugui, an old colleague of his, who had been denounced and deprived of office, on account of some case or other; a native of that district, who had, since his degradation, resided in his home.Having come to hear the news that a memorial, presented in the capital, that the former officers (who had been cashiered) should be reinstated, had received the imperial consent, he had promptly done all he could, in every nook and corner, to obtain influence, and to find the means (of righting his position,) when he, unexpectedly, came across Rainvillage Merchant, to whom he therefore lost no time in offering his congratulations. The two friends exchanged the conventional salutations, and Chang Ju-kuei communicated the tidings to Yue-ts'un.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 07:11, 25 December 2021 (UTC)

Rainvillage Merchant, speedily looking back on, perceived that the speaker was no other than a certain Chang Ju-kuei, an old colleague of his, who had participated in the former case but been denounced and deprived of office, on account of some case or other. He was a native of that district, who had resided at home since his degradation. Having lately come to hear the news that a memorial, presented in the capital, that the former officers (who had been cashiered) should be reinstated, had received the imperial consent, he had promptly done all he could to obtain influence, and to find the means of righting his position. When he, unexpectedly, came across Rainvillage Merchant, he offered offering his congratulations to him soon. The two friends greeted to each other, exchanging the conventional salutations, and Chang Ju-kuei forthwith passed on the information to Rainvillage Merchant.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:55, 15 December 2021 (UTC)--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 13:42, 29 December 2021 (UTC)

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

欢喜，忙忙叙了两句，各自别去回家。冷子兴听得此言，便忙献计，令雨村央求林如海，转向都中去央烦贾政。雨村领其意而别，回至馆中，忙寻邸报看真确了。次日，面谋之如海。如海道：“天缘凑巧。

Rainvillage Merchant was delighted, but after he had made a few remarks in a hurry, each took his leave and sped on his own way homewards. After hearing this conversation, Leng Tzu-hsing hastened at once to propose a plan, advising Rainvillage Merchant to request Lin Ju-hai, then, in his turn, to appeal to Master Merchant in the capital for support.Rainvillage Merchant accepted the suggestion, and took leave of him. Upon returning to the quarter, he made all haste to lay his hand on the Metropolitan Gazette, to ascertain whether the news was authentic or not. On the next day, he had a personal consultation with Ju-hai. "Providence and good fortune are both alike propitious!" said by Ju-hai.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:57, 15 December 2021 (UTC)--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 13:45, 29 December 2021 (UTC)

Yue-ts'un was delighted, but after he they made a short conversation, each of them stepped on their own way homewards. After hearing the words of Yue-ts'un, Leng Tzu-hsing hastened at once to propose a plan, advising Yue-ts'un to request Lin Ju-hai, then, in his turn, to appeal to Chia Cheng in the capital for support. Yue-ts'un accepted the suggestion, and took leave of him. Upon returning to the quarter, he made all haste to read the Metropolitan Gazette, to ascertain the authenticity of that news. On the next day, he made a personal consultation with Ju-hai. Thus, Ju-hai said, "Providence and good fortune are both alike propitious!" --[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:06, 15 December 2021 (UTC)

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

因贱荆去世，都中家岳母念及小女无人依傍，前已遣了男女、船只来接，因小女未曾大痊，故尚未行。此刻正思送女进京。因向蒙教训之恩，未经酬报，遇此机会，岂有不尽心图报之理？弟已预筹之，修下荐书一封，托内兄务为周全，方可稍尽弟之鄙诚；

Since my wife has passed away, my mother-in-law has long before dispatched servants and transporting boats here to fetch my lonely daughter. But she has not set off yet due to the fact that she had not fully recovered at that time. As she is in good condition now, I am considering sending her to her grandma's. Once you have taught my daughter but desired no handsome payment; while now you need help, how can I sit on the fence? I have already well prepared for that in advance --- a recommendation letter has been written to my brother-in-law, to ensure your success in career. Only in this way can I show my gratitude towards you.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 08:15, 11 December 2021 (UTC)

Since my wife has passed away, my mother-in-law who lives in the capital worried that my daughter has no one to rely on. So she has long before dispatched servants and transporting boats here to fetch my lonely daughter. But she has not set off yet due to the fact that she had not fully recovered at that time. As she is in good condition now, I am considering sending her to her grandma's. Once you have taught my daughter but desired no handsome payment; while now you need help, how can I sit on the fence? I have already well prepared for that in advance --- a recommendation letter has been written to my brother-in-law, to ensure your success in career. Only in this way can I show my gratitude towards you.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 07:43, 12 December 2021 (UTC)

==李双 Lǐ Shuāng 翻译学女 202120081499==

即有所费，弟于内家信中写明，不劳吾兄多虑。”雨村一面打恭，谢不释口；一面又问：“不知令亲大人现居何职？只怕晚生草率，不敢进谒。”如海笑道：“若论舍亲，与尊兄犹系一家，乃荣公之孙：大内兄现袭一等将军之职，名赦，字恩侯；

“As for the possible costs, I will explain in the letter. You don’t need to worry about it.” Yu Cun bent down and expressed his gratitude, asking: “What does your brother do now? I’m worried that I would take the liberty to pay a visit, it’s too hasty.” Ru Hai laughed and said: “My brother and your brother belong to the same family. They are both descendants of Origin Merchant. My eldest brother is now a first-class general, his name is Pardon Merchant, whose alternative given name is Enhou.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 07:38, 12 December 2021 (UTC)

“As for the possible costs, I will explain in the letter. You needn’t to worry about it.” Yu Cun bent down and expressed his gratitude, asking: “What does your brother do now? I’m worried that I would take the liberty to pay a visit, it’s too hasty.” Ru Hai laughed and said: “My brother and your brother belong to the same family. They are both descendants of Ronggong. The eldest brother of my wife is now a first-class general, his name is Pardon Merchant, whose alternative given name is Enhou.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 23:46, 12 December 2021 (UTC)

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

二内兄名政，字存周，现任工部员外郎，其为人谦恭厚道，大有祖父遗风，非膏粱轻薄之流，故弟致书烦托，否则不但有污尊兄清操，即弟亦不屑为矣。”雨村听了，心下方信了昨日子兴之言，于是又谢了林如海。

“The second brother of my wife named Zheng, his style name is Cunzhou. He is the Yuanwai official of the Ministry of Works in feudal China. He is moderate and kind, has the dignity of his grandfather, and is not the flimsy type. Therefore, my brother sent a letter to me. Otherwise, I will not only pollute my brother's operation, but also despise my brother.” After hearing this, Yuchun had believed the words of Zixing yesterday, therefore, he thanked Lin Ruhai again. --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 01:27, 12 December 2021 (UTC)

The second brother-in-law is named Zheng, and the word is kept in Zhou. He is currently a member of the Ministry of Engineering. He is courteous and kind. He has a grandfather's legacy. He is not anointing and frivolous. Disdainful. "Yucun listened, and believed in Xing's words from yesterday, so he thanked Lin Ruhai again.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:12, 12 December 2021 (UTC)

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

如海又说：“择了出月初二日小女入都，吾兄即同路而往，岂不两便？”雨村唯唯听命，心中十分得意。如海遂打点礼物并饯行之事，雨村一一领了。那女学生原不忍离亲而去，无奈他外祖母必欲其往，且兼如海说：“汝父年已半百，再无续室之意；
Ruhai also said: "I chose the girl to enter the capital on the second day of the lunar month, and my brother will go the same way. Isn't it both convenient?" Yucun obeyed,and RuHai was very satisfied . Ruhai then took some gifts and walked away, and Yucun took them one by one. The girl student couldn't bear to leave her relatives, but his grandmother wanted to go there. She also said like the sea: "Your father is half a hundred years old, and there is no intention to remarry.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:11, 12 December 2021 (UTC)
Ruhai said, "I chose the second day of the month to enter the capital, and my brother went the same way. Rain village obedient, the heart is very proud. Such as Haisui make gifts and farewell dinner, Rain village one by one. The girl could not bear to leave her, but her grandmother wanted her to go, saying, "Your father is fifty years old, and has no intention of staying in the house;--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:27, 19 December 2021 (UTC)

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

且汝多病，年又极小，上无亲母教养，下无姊妹扶持。今去依傍外祖母及舅氏姊妹，正好减我内顾之忧，如何不去？”黛玉听了，方洒泪拜别，随了奶娘及荣府中几个老妇登舟而去。雨村另有船只，带了两个小童，依附黛玉而行。
You are sick, you are young, you have no mother to nurse you, and no sisters to nurse you. Now I am going to my grandmother and my uncle and sisters, which will relieve my worries. Why not?" When Mascara Jade Forest heard this, she said goodbye with tears and followed the wet nurse and some old women in the Rong House to the boat. Yucun had another boat with two children attached to Mascara Jade Forest.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:25, 19 December 2021 (UTC)
----

And you are sick, very young, no mother to raise, no sister support. Today I go to rely on my grandmother and uncle's sisters, just to reduce my internal worries, how not to go? Dai Yu listened, and Fang shed tears to say goodbye, and followed the grandmother and several old women in the Rong Mansion to board the boat. There was another boat in the rain village, with two children, who were attached to Daiyu.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:29, 19 December 2021 (UTC)

==李怡 Lǐ Yí 法语语言文学女 202120081504==

一日到了京都，雨村先整了衣冠，带着童仆，拿了宗侄的名帖，至荣府门上投了。彼时贾政已看了妹丈之书，即忙请入相会。见雨村相貌魁伟，言谈不俗；且这贾政最喜的是读书人，礼贤下士，拯溺救危，大有祖风；况又系妹丈致意：因此优待雨村，更又不同。
One day, when Rainvillage Merchant arrived in Jingdou, he dressed himself, and went to Rongfu with his nephew's name card. At this time Master Jia had seen his brother-in-law's letter, immediately invited him to come in to meet. Rainvillage Merchant looked tall and handsome and talked well. And Master Jia most like scholar, courtesy, saving, great predecessors style; Therefore, Master Jia is very good to Rainvillage Merchant. He is different from others.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 08:18, 11 December 2021 (UTC)

One day, when Rainvillage Merchant arrived in Jingdou, he dressed himself, and went to Rongfu with his nephew's name card. At the very moment that Master Jia had received his brother-in-law's letter, he immediately invited him to come in to meet. Rainvillage Merchant looked tall and handsome and talked well. And Master Jia most like scholar, courtesy, saving, great predecessors style; Therefore, Master Jia is very good to Rainvillage Merchant. He is different from others--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:39, 19 December 2021 (UTC)

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

便极力帮助，题奏之日，谋了一个复职。不上两月，便选了金陵应天府，辞了贾政，择日到任去了，不在话下。且说黛玉自那日弃舟登岸时，便有荣府打发轿子并拉行李车辆伺候。这黛玉尝听得母亲说，他外祖母家与别人家不同

They tried to help, the day of the title, sought a reinstatement. Within two months, he was elected to Jinling Yingtianfu, resigned from Jia Zheng, and left for his post on a certain day. Now, when Mascara Jade abandoned her boat and landed on the shore that day, she was served by a sedan chair sent by the Rongfu and a luggage cart. Mascara Jade heard from her mother that her grandmother's family was different from others.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:40, 19 December 2021 (UTC)

They sought to a position the day that he presented a petition to the throne. Within two months, he was elected to Jinling Mansion, resigned from Master Merchant，and left for his post on a certain day. Now, when Mascara Jade disembarked that day, she was served by a sedan chair sent by the Rongguo Mansion and a luggage cart. Mascara Jade heard from her mother that her grandmother's family was different from others.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:44, 19 December 2021 (UTC)

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

他近日所见的这几个三等的仆妇，吃穿用度，已是不凡；何况今至其家，都要步步留心，时时在意，不要多说一句话，不可多行一步路，恐被人耻笑了去。自上了轿，进了城，从纱窗中瞧了一瞧，其街市之繁华，人烟之阜盛，自非别处可比。

In the past few days, she has been deeply impressed by the food, clothing and behavior of the low- ranking attendants who accompanied her. She decided that in their new home, she must always be vigilant and carefully weigh every word so as not to be ridiculed for any stupid mistake. When she carried into the city, she peeped out through the gauze window on her chair at the bustling and crowded streets, which she had never seen before.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 08:32, 11 December 2021 (UTC)

The three-class servants she had seen recently have an extraordinary cost of food and clothing. What's more, since got on the sedan chair and entered the city, the prosperous market and the populousness of the city through the screen window were not comparable to other places. when coming to grandmother's mansion must pay attention to every step and be cautious with words so as not to be ridiculed by others. Daiyu thought. --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:56, 12 December 2021 (UTC)Liu Wei

==刘薇 Liú Wēi 国别女 202120081507==

又行了半日，忽见街北蹲着两个大石狮子，三间兽头大门，门前列坐着十来个华冠丽服之人。正门不开，只东、西两角门有人出入。正门之上有一匾，匾上大书“敕造宁国府”五个大字。黛玉想道：“这是外祖的长房了。”

After half day, there are two large stone lions squatting on the north side of the street, three gates decorated with beast head, and a dozen people in gorgeous crowns and clothes are sitting in front of the gate. The main gate is closing, only the east and west corners enterences are accessible. There is a plaque above the main gate with five big characters "Ningguo Mansion". "That must be grandfather's the first son's mansion."Daiyu thought. --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:39, 12 December 2021 (UTC)Liu Wei

After another half-day walk, they came to a street with two huge stone lions crouching on the north side and three gates decorated with beast head, in front of which ten or more people in gorgeous crowns and clothes were sitting. The main gate was shut, with only people passing in and out of the other two smaller gates. On a board above the main gate was written in big characters "Ningguo Mansion Built at Imperial Command". Daiyu realized that this must be where the elder branch of her grandmather's family lived.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:40, 13 December 2021 (UTC)

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

又往西不远，照样也是三间大门，方是荣国府，却不进正门，只由西角门而进。轿子抬着走了一箭之远，将转弯时便歇了轿，后面的婆子也都下来了。另换了四个眉目秀洁的十七八岁的小厮上来抬着轿子，众婆子步下跟随。

A little further to the west they came to another three gates. This was the Rong Mansion. Instead of going through the main gate, they entered the one on the west. The bearers carried the chair a bow-shot further, and then set it down at the turning and withdrew, the maidservants now going down the chair. Another four seventeen or eighteen smartly dressed lads picked up the chair, followed by the maids.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:09, 12 December 2021 (UTC)

Not far to the west is the same three-room gate, which is the Rongguo Mansion. Instead of going through the main gate, they entered the one on the west. The bearers carried the chair a bow-shot further, and then set it down at the turning and withdrew, the maidservants now going down the chair. Another four seventeen or eighteen smartly dressed lads picked up the chair, followed by the maids.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:26, 12 December 2021 (UTC)

==刘越 Liú Yuè 亚非语言文学女 202120081509==

至一垂花门前落下，那小厮俱肃然退出。众婆子上前打起轿帘，扶黛玉下了轿。黛玉扶着婆子的手，进了垂花门，两边是超手游廊，正中是穿堂，当地放着一个紫檀架子大理石屏风。转过屏风，小小三间厅房。

When the palanquin was dropped in front of a pendant door, the attendants all retired in silence. The ladies came forward and raised the curtain of the palanquin and helped Daiyu out of the palanquin. The two sides of the door are overhand corridors, and the centre is a hall with a marble screen on a rosewood frame. Turning past the screen, there is a small three-room hall.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:22, 12 December 2021 (UTC)

After the palanquin was dropped in front of a floral-pendant gates, the attendants all retreated in silence. The maids came forward and drew the curtain of the palanquin to help Mascara Jade Forest out of the palanquin. Holding the hands of those maids, Black Jade enter the floral-pendant gates. On the two sides of the door were Chaoshou veranda, and in the center was a vestibule with a marble screen in a rosewood frame. Past the screen, there were three small rooms. --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 13:01, 19 December 2021 (UTC)

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

厅后便是正房大院：正面五间上房，皆是雕梁画栋；两边穿山游廊、厢房，挂着各色鹦鹉、画眉等雀鸟。台阶上坐着几个穿红着绿的丫头，一见他们来了，都笑迎上来道：“刚才老太太还念诵呢，可巧就来了。”于是三四人争着打帘子。一面听得人说：“林姑娘来了。”

Behind the banqueting hall was the courtyard of the principal rooms: the five principal rooms on the front all had carved beams and painted rafters; from the roof of the verandah on both sides, the cages of parrots, thrushes and various birds hung there. A few girls in red and green sat on the steps. Saw they coming, the girls all smiled and came up: “Just now grandma was taking about you. You arrived just in time.” Then they rushed to pull the curtain. From the other side, a man said: “Miss Forest is coming.”--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 12:28, 19 December 2021 (UTC)

Behind the hall was the courtyard of the central house: five principal rooms in the front with carved beams, while along two sides corridors and chambers with colorfully painted birds as parrots and thrush. There were several maids in red and green sitting on the steps. Seeing visitors coming, they greeted them with smiles, saying, "The old lady just talked about you again and again in anticipation, and here you are." then the four maids scrambled to open the curtain. Meanwhile a man said, "Miss Forest is coming."--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 12:47, 19 December 2021 (UTC)

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

黛玉方进房，只见两个人扶着一位鬓发如银的老母迎上来。黛玉知是外祖母了，正欲下拜，早被外祖母抱住，搂入怀中，“心肝儿肉”叫着大哭起来。当下侍立之人无不下泪，黛玉也哭个不休。众人慢慢解劝，那黛玉方拜见了外祖母。
An silver-haired old lady supported by two maids came and welcomed her while Mascara Jade entered the room. Realizing that this was her grandmother, she was about to bow down to show her respects. Suddenly she was tightly hugged by grandmoa who crying out harrowingly "my sweet heart!" Servants and maids were all in tears, and Black Jade also sobbed unceasingly. People persuaded them softly, then Mascara Jade was able to pay her respects to her grandmother. --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 12:14, 19 December 2021 (U

As Dai Yu just came to the home, there came a silver-haired old woman.Dai Yu knew she was grandma, and as she was going to bow down to show her respect, she has been already hugged by her grandma, who cried:"my sweety!". The surrounding maids all cried, as well as Dai Yu. The crowds slowy persuade her, and Dai Yu then showed her respect to her grandma.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 14:01, 19 December 2021 (UTC)

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

贾母方一一指与黛玉道：“这是你大舅母。这是二舅母。这是你先前珠大哥的媳妇珠大嫂子。”黛玉一一拜见。贾母又说：“请姑娘们。今日远客来了，可以不必上学去。”众人答应了一声，便去了两个。

Baoyu's grandmother than introduce them respectively:"This is your eldest aunt, and this is your second aunt.This is your Zhu brother's wife. Dai Yu greet them one by one.Baoyu's grandmother than said that:"Invite the gilrs. Today here come the dear guest, so they don't need to go to school." Surrounding people said yes, and two of them left.

The Lady Dowager then introduced them respectively to Daiyu: "This is your eldest aunt, and this is your second uncle's wife. This is your deceased elder brother Zhu's wife." Daiyu greeted them one by one. Her grandmother then said: "Tell all the girls to come here. We have visitor who came from afar, so they don't need to go to school." Surrounding people answered yes, and two of them left to call them.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:22, 20 December 2021 (UTC)

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

不一时，只见三个奶妈并五六个丫鬟，拥着三位姑娘来了：第一个肌肤微丰，身材合中，腮凝新荔，鼻腻鹅脂，温柔沉默，观之可亲；第二个削肩细腰，长挑身材，鸭蛋脸儿，俊眼修眉，顾盼神飞，文彩精华，见之忘俗；

In a little while, three grannies and five or six servant girls turned up, clustering with three ladies. The first was somewhere plump in figure and of average height; her cheek was in beautiful shape, like a fresh lichee; her nose was glossy like the goose grease; she was gentle and quiet in nature, who looks very friendly. The second was thin and tall with an oval face, sparking eyes and long eyebrows; her elegance and quick-witted mind tickle people’s fancy, letting them forget everything vulgar.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 08:11, 11 December 2021 (UTC)

After a while, the three young ladies showed up, escorted by three wet nurses and five or six maids. The first was slightly plump and of medium height; her cheeks were as smooth and soft as the newly ripened lichees, and her nose was as glossy as goose fat. She was tender and reticent, and looked very affable. The second had drooping shoulders and a slender waist; she was tall and slim, with an oval face, bright and piercing eyes as well as delicate eyebrows. She seemed elegant, quick-witted and in high spirits, with a display of distinctive charm. People who looked at her were to forget everything vulgar and tawdry.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 23:42, 11 December 2021 (UTC)

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

第三个身量未足，形容尚小：其钗环裙袄，三人皆是一样的妆束。黛玉忙起身，迎上来见礼，互相厮认，归了坐位。丫鬟送上茶来。不过叙些黛玉之母如何得病，如何请医服药，如何送死发丧。不免贾母又伤感起来，因说：“我这些女孩儿，所疼的独有你母亲。

The third one was not yet fully grown, and she still had the face of a child. All the three young ladies were dressed in similar garments, that is, the tunics and the skirts with the same bracelets and head ornaments. Mascara Jade Forest hastily rose to greet politely these cousins, and then they introduced to and acquainted with each other, after which they took seats while the maids served the tea. All their talk now was about Mascara Jade Forest's mother: the culprit for her illness, the medicine that the doctors prescribed for treating her disease, and the conduction of her funeral and mourning ceremonies. Inevitably, Grandma Merchant couldn't help being affected painfully. "Of all my chilren I loved your mother best," she told Mascara Jade.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 07:49, 11 December 2021 (UTC)

==毛优 Máo Yōu 俄语语言文学女 202120081515==

今一旦先我而亡，不得见面，怎不伤心！”说着，携了黛玉的手，又哭起来。众人都忙相劝慰，方略略止住。众人见黛玉年纪虽小，其举止言谈不俗；身体面貌虽弱不胜衣，却有一段风流态度，便知他有不足之症。

Once she died before me, I could not see her again. She said, taking Mascara Jade Forest's hand, and cried again. Everyone was busy trying to console her, and soon she slightly stopped. They saw that although Mascara Jade Forest was young, her manner and speech were not ordinary; although her health was weak, she had graceful and elegant manner, so they knew that she had a disease of deficiency.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 08:43, 11 December 2021 (UTC)

"Once she died before me, it is so sad that I could not see her again." she said, taking Mascara Jade Forest's hand, and cried again. Everyone was trying to console her, and then she slightly stopped. They saw that although Mascara Jade Forest was young, her manner and speech were not ordinary; although she was weak, she had graceful and elegant gestures, so they learned that she had a disease of deficiency.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:35, 12 December 2021 (UTC)

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

因问：“常服何药？为何不治好了？”黛玉道：“我自来如此，从会吃饭时便吃药到如今了，经过多少名医，总未见效。那一年我才三岁，记得来了一个癞头和尚，说要化我去出家，我父母自是不从。

So they asked:" What medicine do you usually take? Why doesn't it work?" Mascara Jade Forest replied:" I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous daocters cannot contribute to my illness.When I was three years old, a monk with favus on the head came to persuade me to become a nun,but my parents declined him.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 08:07, 11 December 2021 (UTC)

They then asked, "What medicines do you take regularly? Why can't you cure your illness?" Mascara Jade Forest, "I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous docters cannot contribute to my illness. I was only three years old when I remember a mangy monk came and said he wanted to convert me to a monk, but my parents refused.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:29, 13 December 2021 (UTC)

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

他又说：‘既舍不得他，但只怕他的病，一生也不能好的；若要好时，除非从此以后，总不许见哭声，除父母之外，凡有外亲，一概不见，方可平安了此一生。’这和尚疯疯癫癫，说了这些不经之谈，也没人理他。

The monk said, "if you can't bear to part with her she'll probably nerver get well. The only remedy is to keep her from hearing weeping and from seeing any relatives apart from her father and mother. That's her only hope of having a quiet life." No one paid any attention, of course, to such crazy talk.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:24, 13 December 2021 (UTC)

The monk said, "if you can't bear to separate with her, she'll probably nerver get well. The only remedy is to keep her from hearing weeping and from seeing any relatives apart from her father and mother. That's her only hope of having a quiet life." No one paid any attention, of course, to such nonsense talk.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 12:12, 19 December 2021 (UTC)

[[Media:Example.ogg]]==秦建安 Qín Jiànān 外国语言学及应用语言学女 202120081518==

如今还是吃人参养荣丸。”贾母道：“这正好，我这里正配丸药呢，叫他们多配一料就是了。”一语未完，只听后院中有笑语声，说：“我来迟了，没得迎接远客。”黛玉思忖道：“这些人个个皆敛声屏气如此，这来者是谁，这样放诞无礼？”

Now Mascara Jade Forest is still taking ginseng pills.And Grandma Merchant said:" What a coincidence! The pills are making now, I just tell them to add one." The words have not been finished, but there is a laugh in the back yard, which said:" I come late and fail to welcome our distinguished guest." Mascara Jade Forest thought: all people here are holding their breath, who is this person that is so arrogant and rude?--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 08:19, 11 December 2021 (UTC)

Now Lin Daiyu is still taking ginseng pills. And Grandma Merchant said:" It just so happens that I have been asking them to dispense the pills, just asking them to do one more portion." The words are not finished, but there is a laugh in the back yard, which said:" I am late and fail to welcome our distinguished guest." Mascara Jade Forest thought: “all people here are holding their breath, who is this person that is so arrogant and rude?”--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 09:33, 12 December 2021 (UTC)

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

心下想时，只见一群媳妇、丫鬟拥着一个丽人，从后房进来。这个人打扮与姑娘们不同，彩绣辉煌，恍若神妃仙子：头上戴着金丝八宝攒珠髻，绾着朝阳五凤挂珠钗；项上戴着赤金盘螭缨络圈；身上穿着缕金百蝶穿花大红云缎窄褃袄，外罩五彩刻丝石青银鼠褂；

While Mascara Jade Forest is still thinking about it, a group of daughters-in-law and maids cluster around a beauty coming in from the back room. She dresses up differently from other girls, with colorful embroidery splendor, and looks like a divine concubine or a fairy: wearing a gold silk beads bun decorated with eight treasures and the five phoenix hairpin hanging with beads on the head; a red gold coiled chi dragon tassel ring around the neck; the bright red made of cloud satin material narrow lining cotton jacket with decorations of wisps of gold hundred butterflies and flowers, and the outer coat with decorations of the multicolored engraved silk stone green silver mouse. --[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 09:34, 12 December 2021 (UTC)

Mascara Jade Forest was still thinking about it when she saw a group of daughters-in-law and maids embracing a beautiful woman who came in from the back room. This woman dresses differently from the girls, with colorful embroidery splendor, and looks like a divine concubine fairy: wearing a gold silk eight treasure save beads bun and the sunrise five phoenix hanging beads hairpin on the head; a red gold coiled chi dragon tassel ring around the neck; wearing the bright red made of cloud satin material narrow lining cotton jacket with decorations of wisps of gold hundred butterflies and flowers, and the outer coat with decorations of the multicolored engraved silk stone green silver mouse.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:47, 11 December 2021 (UTC)

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

下着翡翠撒花洋绉裙。一双丹凤三角眼，两弯柳叶吊梢眉。身量苗条，体格风骚。粉面含春威不露，丹唇未启笑先闻。黛玉连忙起身接见。贾母笑道：“你不认得他。他是我们这里有名的一个泼辣货，南京所谓‘辣子’，你只叫他‘凤辣子’就是了。”

Splendid Pheonix King wore a jadeite flowered dress underneath, with a pair of phoenix triangle eyes and two curved willow hanging eyebrows. Her figure is slim and her physique is flirtatious. She can be described with “ the face is delicate and beautiful, spirited character of her is not revealed in the appearance, red lips beautiful, not yet open mouth first heard her laugh”. Mascara Jade Forest hastily got up to curtsy to her. Grandma Merchant said with a smile, "You do not recognize her. She is famous for her boldness and vigorousness here, she is truly the 'chilli woman' in Nanjing dialect, you can just call her ' chilli Feng'."--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:35, 11 December 2021 (UTC)

Splendid Pheonix King, characterized by a pair of phoenix triangle eyes and two curved willow hanging eyebrows, wore an emerald flowered crepe skirt. She was slender and coquettish, with a delicate face and a smiling lip. Mascara Jade Forest promptly rose quickly to greet her. Grandma Merchant said with a smile: “ you don’t know him. He is famous for her fierceness and toughness, namely the so-called Nanjing chilli. So you can just call him ‘Chilli Pheonix’.”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:48, 11 December 2021 (UTC)

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

黛玉正不知以何称呼，众姊妹都忙告诉黛玉道：“这是琏二嫂子。”黛玉虽不曾识面，听见他母亲说过：大舅贾赦之子贾琏，娶的就是二舅母王氏的内侄女，自幼假充男儿教养，叫做王熙凤学名。黛玉忙陪笑见礼，以“嫂”呼之。

Mascara Jade Forest was insensible of what to call her. Then her sisters told her promptly: “ this is your sister-in-law Romance Second Merchant.” Although Mascara Jade Forest had never met her, she heard of her from his mother: Romance Merchant, the son of her Uncle Pardon Merchant, had married the niece of Aunt King, named scientifically Splendid Phoenix King, was brought up as a male offspring since childhood. Mascara Jade Forest was engaged in smiling and saluting at her, calling her “sister-in-law”.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:32, 11 December 2021 (UTC)

Mascara Jade Forest didn't know what to call her. Then her sisters told her promptly: “This is your sister-in-law Romance Second Merchant.” Although Mascara Jade Forest had never met her, she heard of her from his mother: Romance Merchant, the son of her Uncle Pardon Merchant, had married the niece of Aunt King,named scientifically Splendid Phoenix King,was brought up as a male offspring since childhood. Mascara Jade Forest was engaged in smiling and saluting at her, calling her “sister-in-law”.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:55, 13 December 2021 (UTC)

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

这熙凤携着黛玉的手，上下细细打量了一回，便仍送至贾母身边坐下，因笑道：“天下真有这样标致人儿！我今日才算看见了。况且这通身的气派，竟不像老祖宗的外孙女儿，竟是嫡亲的孙女儿似的，怨不得老祖宗天天嘴里心里放不下。

Taking Mascara Jade Forest's hand, Splendid Phoenix King looked up and down her carefully, then she sent her toGrandma Merchant's side to sit down.She laughed and said:"There is really such a beautiful person in the world!I didn't see her until today.Moreover,the style of her makes her be more like your son's daughter than your daughter's daughter.It's no wonder that you are concerned about her so much.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:49, 13 December 2021 (UTC)

Taking Mascara Jade Forest's hand, Splendid Phoenix King looked her up and down carefully, then sent her to Grandma Merchant's side to sit down. She laughed and said:"There is really such a beautiful person in the world! I haven’t seen her until today. Moreover, her extraordinary temperament makes her be more like your son's daughter rather than your daughter's daughter. It's no wonder that you are concerned about her so much. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 06:48, 13 December 2021 (UTC)

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

只可怜我这妹妹这么命苦，怎么姑妈偏就去世了呢？”说着便用帕拭泪。贾母笑道：“我才好了，你又来招我；你妹妹远路才来，身子又弱，也才劝住了：快别再提了。”

I pity my sister for being so miserable, how could my aunt died so early?" She said, wiping her tears with her handkerchief. Grandma Merchant laughed and said, "I've just recovered. You come to provoke me again. Your sister has just arrived from a long journey and is weak, so she has just been persuaded: Don't mention it again."--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 02:37, 12 December 2021 (UTC)

I pity my sister who is so miserable, how could my aunt have died?" She said, wiping her tears with her handkerchief. Your sister has only just arrived from a long journey and is weak, so she has only just been persuaded to stop talking about it."--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:22, 11 December 2021 (UTC)

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

熙凤听了，忙转悲为喜道：“正是呢，我一见了妹妹，一心都在他身上，又是喜欢，又是伤心，竟忘了老祖宗了。该打，该打！”又忙拉着黛玉的手问道：“妹妹几岁了？可也上过学？现吃什么药？在这里别想家。

The first time I saw my sister, I was all over him, and I liked him, and I was sad, and I forgot about my ancestors. You should be beaten, you should be beaten!" He also took Daiyu's hand and asked, "How old is my sister? How old is she? What kind of medicine do you take now? Don't be homesick here.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:21, 11 December 2021 (UTC)

The first time I saw my sister, I was all over him, and I liked him, and I was sad, and I forgot about my ancestors. You should be beaten, you should be beaten!" He also took Daiyu's hand and asked, "How old is my sister? How old is she? What kind of medicine do you take now? Don't be homesick here.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:14, 22 December 2021 (UTC)

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

要什么吃的，什么玩的，只管告诉我；丫头、老婆们不好，也只管告诉我。”黛玉一一答应。一面熙凤又问人：“林姑娘的东西可搬进来了？带了几个人来？你们赶早打扫两间屋子，叫他们歇歇儿去。”

Just tell me what you want to eat and play; Girls and old servants are not good, just tell me. " Daiyu nodded one by one. On one side, Xifeng asked, "have you moved in Miss Lin's things? How many people have you brought? Clean the two rooms early and tell them to have a rest."--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 06:54, 12 December 2021 (UTC)

Tell me what you want to eat and play; And if the maids or old nurses aren't good to you, just let me know. " Mascara Jade Forest nodded one by one. At the same time, Splendid Phoenix asked, "Have Miss Forest's things been moved in? And how many people does she bring? Clean the two rooms as soon as possible and tell them to have a rest there."--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 08:24, 12 December 2021 (UTC)

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

说话时已摆了果茶上来，熙凤亲自布让。又见二舅母问他：“月钱放完了没有？”熙凤道：“放完了。刚才带了人到后楼上找缎子，找了半日，也没见昨儿太太说的那个。想必太太记错了。”王夫人道：“有没有，什么要紧！”

Fruits and tea had been prepared when Splendid Phoenix was talking, and she arranged them by herself. Lady King asked her whether the monthly payment has been given out, she answered yes. “I looked for the satin in the back stairs with some people for hours just now, but didn’t find which madam mentioned yesterday. Madam must be wrong.” Splendid Phoenix King said, and Lady King answered, “ It doesn’t matter if there is or not.”--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 07:45, 12 December 2021 (UTC)

Fruits and tea had been prepared when Xifeng was talking, and she arranged them by herself. The second aunt asked her, "Have the monthly payment been given out?" Xifeng answered, "Yes. And I looked for the satin in the back stairs with some people for hours just now, but didn’t find what madam mentioned yesterday. Madam mabey remember something wrong.” Mrs. Wang replied, “ It doesn’t matter if there is or not.”--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 09:03, 12 December 2021 (UTC)

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

因又说道：“该随手拿出两个来，给你这妹妹裁衣裳啊。等晚上想着，再叫人去拿罢。”熙凤道：“我倒先料着了，知道妹妹这两日必到，我已经预备下了。等太太回去过了目，好送来。”

Mrs. Wang said, "You should take out a couple of satin pieces to cut your sister's dress. When you think of this matter in the evening, send someone for the satin ." Xifeng said, "I expected it. I knew my sister would arrive in these two days, and I had already made preparations. I will send someone for the satin as soon as you have returned and examined it."--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 08:52, 12 December 2021 (UTC)

Mrs. Wang added, "You should take out a couple of satin pieces to cut your sister's dress. When you think of this in the evening, send someone for the satin ." Splendid Phoenix King said, "I have expected it. I know my sister will arrive in these two days, and I have already made preparations. I will send someone for the satin as soon as you have examined it."--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:58, 12 December 2021 (UTC)

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

王夫人一笑，点头不语。当下茶果已撤，贾母命两个老嬷嬷带黛玉去见两个舅舅去。维时贾赦之妻邢氏忙起身笑回道：“我带了外甥女儿过去，到底便宜些。”

Her Ladyship smiled, nodded and said nothing. Now the refreshments were cleared away and the Lady Dowager ordered two nurses to take Daiyu to see her two uncles. At this time, Mrs. She also immediately stood up, replied with smile, "it's also very convenient for me to take my niece."--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:51, 11 December 2021 (UTC)

Her Lady City smiled, nodded but said nothing. Now the refreshments were cleared away and the Lady Dowager ordered two mothers to take Mascara Jade Forest to see her two uncles. At this time, Lady Xing immediately stood up, replied with a smile, "it's also very convenient for me to take my niece."--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 08:37, 12 December 2021 (UTC)

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

贾母笑道：“正是呢，你也去罢，不必过来了。”那邢夫人答应了，遂带着黛玉，和王夫人作辞，大家送至穿堂。垂花门前早有众小厮拉过一辆翠幄青油车来，邢夫人携了黛玉坐上，众老婆们放下车帘，方命小厮们抬起。

Grandma Merchant laughed and said: “ Yeah, you can also leave, and don’t have to come here.” Lady City promised, and said goodbye to Lady King with Mascara Jade Forest , all of them went through the hallway. The ingenious green carriage, which drove by a group of manservants stood in front of the floral-pendant gates, Lady City set in the car with Mascara Jade Forest, several old mothers put down the car shade, instructing boys uplift the carriage. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 08:35, 12 December 2021 (UTC)

The mother laughed and said, "Exactly, you also go, no need to come." That Mrs. Xing agreed, so took Daiyu, and Mrs. Wang to say goodbye, we sent to the wear hall. The tent green oil carriage in front of the flower gate, Mrs. Xing took Daiyu to sit on it, the wives put down the curtain, and ordered the boys to lift it.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 01:13, 13 December 2021 (UTC)

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

拉至宽处，驾上驯骡，出了西角门往东，过荣府正门，入一黑油漆大门内，至仪门前方下了车。邢夫人挽着黛玉的手进入院中。黛玉度其处必是荣府中之花园隔断过来的。
Pulled to a wide place, driving on the tame mule, out of the west corner gate to the east, past the main gate of Rongfu, into a black-painted gate, to the front of the ceremony door down the car. Mrs. Xing took Daiyu's hand and entered the courtyard. The first thing you need to do is to get to the garden.

Then he took the mule，went out the west Corner gate to the east, passed the main gate of Rongfu, entered a black painted gate, and got off in front of Yi gate. Lady Xing took Daiyu's hand and entered the courtyard. Daiyu spent its place must be the garden in the rong mansion partition come over.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 01:38, 15 December 2021 (UTC)

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

进入三层仪门，果见正房、厢房、游廊悉皆小巧别致，不似那边的轩峻壮丽，且院中随处之树木山石皆好。及进入正室，早有许多艳妆丽服之姬妾、丫鬟迎着。邢夫人让黛玉坐了；一面令人到外书房中请贾赦。

When we entered the three-story ceremonial gate, the main room, wing room and verandah were all small and unique, unlike those of the other side. Besides, the trees, mountains and stones in the courtyard were all good. When they entered the main room, there were many concubines and servant girls dressed in colourful makeup and beautiful clothes waiting for them. Lady City asked Mascarra Jade to sit down and then let others invite Pardon Merchant in the outer study.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 01:02, 15 December 2021 (UTC)

When entering the three- layers ceremonial gate, Daiyu found that the main room, wing room and verandah were all small and unique, unlike those of the other side. Besides, the trees, mountains and stones in the courtyard were all good. When they entered the main room, there were many concubines and servant girls dressed in heavy makeup and beautiful clothes waiting for them. Madam Xing asked Daiyu to sit down and then let others invite Jia She in the outer study.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 12:10, 19 December 2021 (UTC)

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

一时回来说：“老爷说了：‘连日身上不好，见了姑娘，彼此伤心，暂且不忍相见。劝姑娘不必伤怀想家，跟着老太太和舅母，是和家里一样的。姐妹们虽拙，大家一处作伴，也可以解些烦闷。或有委屈之处，只管说，别外道了才是。’”

Mrs.Xing came back and said, "the master said, 'I've been felt not so good for days. I am afraid that I will be emotional if I see you, so I can't bear to see you for the time being. I advise you not to be homesick. It's the same as home to follow the old lady and aunt. Although the sisters are clumsy, you can relieve some boredom if you keep company together. If you have grievances, just tell us and make yourself at home.''--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 12:07, 19 December 2021 (UTC)

Mrs.Xing came back and said, "the master said, 'I've been felt not so good for days. I am afraid that I will be emotional if I see you, so I can't bear to see you for the time being. I advise you not to be homesick. It's the same as home to follow the old lady and aunt. Although the sisters are clumsy, you can relieve some boredom if you keep company together. If you have grievances, just tell us and make yourself at home.''--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:45, 20 December 2021 (UTC)

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

黛玉忙站起身来，一一答应了。再坐一刻便告辞，邢夫人苦留吃过饭去。黛玉笑回道：“舅母爱惜赐饭，原不应辞；只是还要过去拜见二舅舅，恐去迟了不恭，异日再领。望舅母容谅。”

Daiyu stood up and agreed one by one. Sitting for a moment and then said goodbye, Mrs. Xing painstakingly stay to eat a meal. Daiyu smile back: "aunt love to give rice, should not resign; just have to go over to see second uncle, afraid to go late disrespectful, another day to receive. I hope aunt forgive me."--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:44, 20 December 2021 (UTC)

Mascara Jade Forest stood up and agreed one by one. Sitting for a moment and then said goodbye, Lady City painstakingly stay to eat a meal. Mascara Jade Forest smile back: "aunt love to give rice, should not resign; just have to go over to see second uncle, afraid to go late disrespectful, another day to receive. I hope aunt forgive me.

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

邢夫人道：“这也罢了。”遂命两个嬷嬷用方才坐来的车送过去。于是黛玉告辞。邢夫人送至仪门前，又嘱咐了众人几句，眼看着车去了方回来。一时黛玉进入荣府，下了车，只见一条大甬路直接出大门来。

Lady City said: “That’s fine.” So she ordered two Sisters to send Mascara Jade Forest back by Carriage used before. So Mascara Jade Forest farewell others. Lady City saw her off and said some words to others, seeing the carriage come back and forth. Once Daiyu entered The House of Rong and got off the carriage, she saw a long and wide road.

Lady City said: “That’s fine.” So she ordered two Sisters to send Mascara Jade Forest back by Carriage used before. So Mascara Jade Forest farewell others. Lady City saw her off to the gate of etiquetteand said some words to others, seeing the carriage come back and forth. Once Daiyu entered The House of Rong and got off the carriage, she saw a long and wide road.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:26, 20 December 2021 (UTC)

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

众嬷嬷引着，便往东转弯，走过一座东西穿堂，向南大厅之后，仪门内大院落：上面五间大正房，两边厢房，鹿顶耳房钻山，四通八达，轩昂壮丽，比各处不同。黛玉便知这方是正内室。

Led by the mammy, she turned east, passed through an east-west hall, and came to the south hall, where she found a large courtyard inside the Gate of Yi: five main rooms on the top, flanks on both sides, and deer's roof and ears, extending in all directions, magnificent and different from other places. Daiyu knew this was the inner room.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 09:10, 18 December 2021 (UTC)

Led by the mammies, they turned eastward and passed through an east-west hallway and the southward hall, she found a large courtyard inside the secondary gate: five main rooms on the top, flanks on both sides, and a small flat topped house next to the main house, extending in all directions, magnificent and different from other places. Daiyu knew this was the inner room.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 10:08, 18 December 2021 (UTC)

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

进入堂屋，抬头迎面先见一个赤金九龙青地大匾，匾上写着斗大三个字，是“荣禧堂”；后有一行小字：“某年月日书赐荣国公贾源”，又有“万幾宸翰”之宝。大紫檀雕螭案上，设着三尺多高青绿古铜鼎，悬着待漏随朝墨龙大画，一边是錾金彝，一边是玻璃盆。

Entering the main room, I looked up and saw a great blue board framed in gilded dragons. On the plaque, there were two big words "Jubilee Hall"; Then there is a line of small characters: "on a certain date, this was given to Source Merchant, the Duke of Honor", and there was the treasure of Emperor's handwriting. On the large red sandalwood table that carved with dragon, there was a green bronze tripod more than three feet high, hanging a large ink dragon painting that seemed to attend the imperial court session in the early morning, with gilded wine vessels on one side and a glass basin on the other.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 08:11, 18 December 2021 (UTC)

there was a green bronze tripod more than three feet high, hanging a large ink dragon painting that seemed to attend the imperial court session in the early morning, with gilded wine vessels on one side and a glass basin on the other.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 12:05, 19 December 2021 (UTC)

==颜莉莉 Yán Lìlì 国别女 202120081537==

地下两溜十六张楠木圈椅。又有一副对联，乃是乌木联牌镶着錾金字迹，道是：座上珠玑昭日月，堂前黼黻焕烟霞。下面一行小字是“世教弟勋袭东安郡王穆莳拜手书”。原来王夫人时常居坐宴息也不在这正室中，只在东边的三间耳房内。

On the ground two rows of 16 nanmu armchairs. There is also a pair of couplets, ebony couplet inset with gold handwriting, it said:The pearl and jade in the seat can shine with the sun and the moon; The people in front of the lobby wearing official clothes, its colors like clouds like clouds. The next line is written by Mu Shibai, the hereditary king of Dongpyeong County, who is a brother who has been taught by your family for generations.For Lady King often sat and reposed not in this main room, but in the three eastern rooms.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 03:36, 12 December 2021 (UTC)

Since Lady King seldom sat in this main hall but used three rooms on the east side for relaxation.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:04, 14 December 2021 (UTC)

==颜子涵 Yán Zǐhán 国别女 202120081538==

于是嬷嬷们引黛玉进东房门来。临窗大炕上铺着猩红洋毯，正面设着大红金钱蟒引枕，秋香色金钱蟒大条褥；两边设一对梅花式洋漆小几：左边几上摆着文王鼎，鼎旁匙箸、香盒；右边几上摆着汝窑美人觚，里面插着时鲜花草。

So that the nannies led Mascara Jade Forest through the door of the eastern wing. The large kang by the window was covered with a scarlet foreign rug. In the middle were red back-rests and turquoise bolsters, both with dragon-design medallions, and a long greenish yellow mattress also with dragon medallions. On the two sides， stood one of a pair of small teapoys of foreign lacquer of plum-blossom pattern. On the left-hand table were a tripod, spoons, chopsticks and an incense container; On the right-hand table were a slender-waisted porcelain vase from the Ruzhou Kiln in which were placed seasonable flowers.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 09:48, 14 December 2021 (UTC)

Thereupon,the nannies led Mascara Jade Forest through the door of the eastern wing. The large kang by the window was covered with a scarlet foreign rug. In the middle were red back-rests and turquoise bolsters, both with dragon-design medallions, and a long greenish yellow mattress also with dragon medallions. On the two sides stood on a pair of small teapoys of foreign lacquer of plum-blossom pattern. On the left-hand table were a tripod, spoons, chopsticks and an incense container; On the right-hand table were a slender-waisted porcelain vase from the Ruzhou Kiln in which were placed seasonable flowers.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:47, 14 December 2021 (UTC)

==阳佳颖 Yáng Jiāyǐng 国别女 202120081540==

地下面，西一溜四张大椅，都搭着银红撒花椅搭，底下四副脚踏；两边又有一对高几，几上茗碗、瓶花俱备。其馀陈设，不必细说。老嬷嬷让黛玉上炕坐。炕沿上却也有两个锦褥对设。

On the floor on the west side of the room, were four chairs in a row, all of which were covered with antimacassars, embroidered with silverish-red flowers.Beneath them stood four footstools. On either side, was also a pair of high teapoys which were covered with teacups and flower vases.The rest of the room need not be described in detail.
The nannies urged Mascara Jade Forest to sit on the kang, on the edge of which were two brocade cushions. --[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:42, 14 December 2021 (UTC)

On the floor facing on the west wall were four chairs in a row, all of which were covered with ornamented cloth embroidered with silverish-red flowers.Beneath them stood four footstools. On either side were a pair of high table with teacups and flower vases.Other decorations in the rest of the room need not be described in detail.The nannies urged Mascara Jade Forest to sit on the kang, on the edge of which were two brocade cushions.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 09:50, 18 December 2021 (UTC)

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

黛玉度其位次，便不上炕，只就东边椅上坐了。本房的丫鬟忙捧上茶来。黛玉一面吃了，打量这些丫鬟们妆饰衣裙，举止行动，果与别家不同。

Considering her status in the family, Daiyu sat on one of the chairs on the east side instead of sitting on the ''kang''. The maids in attendance served tea immediately. When she was sipping the tea, she observed the maids’ make-up,clothes and deportment, which, her thought, were indeed quite different from those in other families.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 09:38, 18 December 2021 (UTC)

Considering her status in the family, Mascara Jade sat on one of the chairs on the east side instead of sitting on the ''kang''. The maids in attendance served tea immediately.Sipping the tea, she observed the maids’ make-up,clothes and deportment, which, her thought, were indeed quite different from those in other families.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 14:18, 18 December 2021 (UTC)

==杨堃 Yáng Kūn 法语语言文学女 202120081542==

茶未吃了，只见一个穿红绫袄、青绸掐牙背心的一个丫鬟走来笑道：“太太说，请林姑娘到那边坐罢。”老嬷嬷听了，于是又引黛玉出来，到了东廊三间小正房内。

Before the tea was drunk, a servant girl wearing a red silk jacket and a green satin vest came up and smiled, "Lady King invited Miss Forest to come and sit over there." When the old Nanny heard this, she led Mascara Jade out again and went to the third small main room on the east porch.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:33, 12 December 2021 (UTC)

Before they drank tea over, a servant girl in a red silk jacket and a green satin vest came up and smiled, "Mrs. Wang invited Miss Lin to come and sit over there." When the old Mammy heard this, she led Daiyu out again to the third small main room on the east porch.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:10, 12 December 2021 (UTC)

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

正面炕上横设一张炕桌，上面堆着书籍、茶具；靠东壁面西设着半旧的青缎靠背、引枕。王夫人却坐在西边下首，亦是半旧青缎靠背、坐褥。见黛玉来了，便往东让。

On the kang there was a kang table on which books and tea sets piled up. Half new backrests and pillows made of blue satins were set on the east side of the wall. However, Mrs. Wang set at the foot of the west wall where half new backrests and mattresses made of blue satins were displayed. Mrs. Wang moved to the east side when she saw Lin Daiyu come in.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:11, 12 December 2021 (UTC)

On the kang lies a kang table,on which books and tea sets are piled up. Half new backrests and pillows made of blue satins were put on the east side of the wall. However, Mrs. Wang sat at the foot of the west wall where half new backrests and mattresses made of blue satins are displayed. Mrs. Wang moved to the east side when she saw Daiyu coming in.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 12:11, 19 December 2021 (UTC)

==叶维杰 Yè Wéijié 国别男 202120081544==

黛玉心中料定这是贾政之位。因见挨炕一溜三张椅子上也搭着半旧的弹花椅袱，黛玉便向椅上坐了。王夫人再三让他上炕，他方挨王夫人坐下。王夫人因说：“你舅舅今日斋戒去了，再见罢。

Daiyu thought it must be Jia Zhen's seat. Seeing that there were half-old bouncing chair blankets on the three chairs slid by the kang, Daiyu sat on the chair. Mrs. Wang repeatedly asked him to go to the kang, then she sat down next to Mrs. Wang. Mrs. Wang said: "Your uncle has gone fast today, goodbye.

Mascara Jade thought that this was Master Merchant's seat， because she saw that there were three chairs next to the bed with a half-used chair, so Mascara Jade sat down on the chair. She sat down next to Lady King after she had asked her to go to the bed again and again. Lady King said, "Your uncle went to fast today, see you later.”--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 12:29, 19 December 2021 (UTC)Yi Yangfan

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

只是有句话嘱咐你：你三个姐妹倒都极好，以后一处念书认字，学针线，或偶一玩笑，却都有个尽让的。我就只一件不放心：我有一个孽根祸胎，是家里的混世魔王，今日因往庙里还愿去，尚未回来，晚上你看见就知道了。

I just have one thing to tell you: your three sisters are all very good, and in the future they will study and learn to read and write together, and learn to sew, or occasionally play jokes, but all of them will do their best. There is only one thing I am not sure about: I have a sinful child who is the evil one in my family, and he has not returned yet because he has gone to the temple to pay his respects.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 02:19, 13 December 2021 (UTC)Yi Yangfan

I just want to remind you: your sisters are very kind , and in the future you will study together, and learn to read and write and learn to sew. Sometimes you will play jokes at each other, but you will be very tolerant to each other. There is only one thing I am worried about: there is a naughty boy in our family, and he has not returned yet because he has gone to the temple to redeem his wishes, you will see him in the evening.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 07:45, 13 December 2021 (UTC)

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

你以后总不用理会他，你这些姐姐妹妹都不敢沾惹他的。”黛玉素闻母亲说过：“有个内侄，乃衔玉而生，顽劣异常，不喜读书，最喜在内帏厮混。外祖母又溺爱，无人敢管。”

“You can ignore him later and none of your sisters dare to bother him. ” Daiyu heard from her mother: “I have a nephew, who was born with jade in his mouth. He is very naughty and don’t like to read, but prefer to play with girls. His grandma has always spoiled him so that everyone let him be. ”--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 07:27, 13 December 2021 (UTC)

"You can ignore him in future because none of your sisters dare to mess up with him". Mascara Jade has long heard from her mother about him: "I have a nephew, born with a jade in his mouth, who is very naughty and doesn’t like to read, but prefers to hang around with girls. His grandma has always spoiled him so that everyone let him be". --[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 12:31, 19 December 2021 (UTC)

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

今见王夫人所说，便知是这位表兄。一面陪笑道：“舅母所说，可是衔玉而生的？在家时，记得母亲常说：这位哥哥比我大一岁，小名就叫宝玉，性虽憨顽，说待姊妹们却是极好的。

What Lady King described today is the cousin for sure. Mascara Jade said while smiling:" Is the person you just mentioned my cousin born with a jade? I remember when I was at home my mother often said that the cousin nicknamed Precious Jade is one year older than me. Although he is a little mischievous, he is very friendly with his sisters".--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 14:27, 12 December 2021 (UTC)

Who Lady King described today is the cousin for sure. Mascara Jade said while smiling:" Is this my cousin you just mentioned born with a jade? I remember when I was at home my mother often said that the cousin nicknamed Precious Jade is one year older than me. Although he is a little mischievous, he is very friendly with his sisters".--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 12:06, 19 December 2021 (UTC)

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

况我来了，自然和姊妹们一处，弟兄们是另院别房，岂有沾惹之理？”王夫人笑道：“你不知道原故。他和别人不同，自幼因老太太疼爱，原系和姐妹们一处娇养惯了的。

Now I come here,undoubtfully I live with my sisters. The brothers are in some different houses. Is there any reason to mess with them?" Lady King smiled and said, "You don't know. Unlike the others, he had been coddled by his sisters since he was young for the love of Grandma Merchant.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 15:30, 13 December 2021 (UTC)

Now I come here,undoubtfully I live with my sisters. The brothers are in some different houses. Is there any reason to mess with them?" Lady King smiled and said, "You don't know the reason. Unlike others, he had been coddled by his sisters since he was young for the love of Grandma Merchant.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 03:20, 15 December 2021 (UTC)

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

若姐妹们不理他，他倒还安静些；若一日姐妹们和他多说了一句话，他心上一喜，便生出许多事来：所以嘱咐你别理会他。他嘴里一时甜言蜜语，一时有天没日，疯疯傻傻，只休信他。”黛玉一一的都答应着。

“If the sisters ignore him, he is a bit quieter: if one day the sisters talk to him more, he is so happy that he will stir up many troubles: so I tell you to ignore him. He may talk sweetly for a while, and he may be crazy and silly for a while, just don't believe him.” Daiyu replied one by one.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 08:45, 13 December 2021 (UTC)
If the sisters ignore him, he will be quiet; if one day they talk to him more, he will be happy, and many things will happen: so I tell you to ignore him. His mouth a sweet talk, a moment there is no day, crazy and silly, just do not believe him. Daiyu agreed one by one.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 12:06, 19 December 2021 (UTC)

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

忽见一个丫鬟来说：“老太太那里传晚饭了。”王夫人忙携了黛玉，出后房门，由后廊往西，出了角门，是一条南北甬路，南边是倒座三间小小抱厦厅，北边立着一个粉油大影壁，后有一个半大门，小小一所房屋。
Suddenly see a servant girl to say: "old lady there spread supper." Lady King and Mascara Jade Forest went out of the back door, leading from the back corridor to the west and out of the corner gate. There was a north-south corridor, with three small rooms in the south, a big screen wall of powder and oil in the north, and a small house with a half gate behind.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 13:53, 12 December 2021 (UTC)

Suddenly a servant girl said, "the old lady has passed on dinner." Lady King hurriedly took Mascara Jade Pearl out of the back door, from the back porch to the west, out of the corner door. It is a North-South corridor. In the south is the inverted three small balcony halls. In the north is a oil-powdered large shadow wall, followed by a half gate and a small house.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 12:28, 13 December 2021 (UTC)

==张扬 Zhāng Yáng 国别男 202120081551==

王夫人笑指向黛玉道：“这是你凤姐姐的屋子。回来你好往这里找他去，少什么东西，只管和他说就是了。”这院门上也有几个才总角的小厮，都垂手侍立。王夫人遂携黛玉穿过一个东西穿堂，便是贾母的后院了。

Lady King smiled at Mascara Jade Pearl and said: "This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her." On the gate of the courtyard, there were also several young boys who were only in their childhood, all standing with their hands down. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 07:30, 11 December 2021 (UTC)

Lady King smiled at Mascara Jade Pearl and said: "This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her." On the gate of the courtyard,there were also a few young boys on the door of this courtyard, all standing with their hands down.. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.

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

于是进入后房门，已有许多人在此伺候，见王夫人来，方安设桌椅；贾珠之妻李氏捧杯，熙凤安箸，王夫人进羹。贾母正面榻上独坐，两旁四张空椅。熙凤忙拉黛玉在左边第一张椅子上坐下，黛玉十分推让。

So they entered the back room, where many people were already waiting, and when they saw Lady King coming, they placed the table and chairs; Li, wife of Treasure Merchant, held the cup, Lady King placed the chopsticks, and Splendid Phoenix King drank the soup. Grandma Merchant was sitting alone on a couch, flanked by four empty chairs. Splendid Phoenix King was busy pulling Mascara Jade Forest to sit in the first chair on the left, but Mascara Jade Forest was too embarrassed to sit.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 00:57, 13 December 2021 (UTC)

So they entered the back room, where many people were already waiting, and when they saw Lady King coming, they placed the table and chairs; Li, wife of Treasure Merchant, held the cup, Lady King placed the chopsticks, and Splendid Phoenix King drank the soup. Grandma Merchant was sitting alone on a couch, flanked by four empty chairs. Splendid Phoenix King was busy pulling Mascara Jade Forest to sit in the first chair on the left, but Mascara Jade Forest was too embarrassed to sit.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 03:42, 13 December 2021 (UTC)

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

贾母笑道：“你舅母和嫂子们是不在这里吃饭的。你是客，原该这么坐。”黛玉方告了坐，就坐了。贾母命王夫人也坐了。迎春姊妹三个告了坐，方上来：迎春坐右手第一，探春左第二，惜春右第二。

Grandama Merchant said with a smile, "your aunt and sister-in-law don't eat here. You are a guest. You should have sat here." Mascara Jade Forest then sat down. Grandama Merchant ordered Lady King to sit down. The three sisters of Spring Pleasure Merchant sat down：Spring Pleasure Merchant sat first on the right hand, Seeking-Spring Merchant second on the left, and Cherishing Spring Merchant second on the right.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:36, 11 December 2021 (UTC)

Grandama Merchant said with a smile, "your aunts and sisters-in-law don't eat here. You are a guest. You should have sat here." Mascara Jade Forest then sat down. Grandama Merchant ordered Lady King to sit down. The three sisters of Spring Pleasure Merchant were asked to sit down: Spring Pleasure Merchant sat first on the right hand, Seeking-Spring Merchant second on the left, and Cherishing Spring Merchant second on the right.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 02:02, 12 December 2021 (UTC)

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

旁边丫鬟执着拂尘、漱盂、巾帕，李纨、凤姐立于案边布让；外间伺候的媳妇、丫鬟虽多，却连一声咳嗽不闻。饭毕，各各有丫鬟用小茶盘捧上茶来。当日林家教女以惜福养身，每饭后必过片时方吃茶，不伤脾胃；

Standing at the table, the servant girls held the horsetail whisks, vessels for mouthwash and handkerchiefs. Silk Plum and Splendid Phoenix King sent dishes, refreshments to guests and invited them to eat. Though there were many servant girls in the outer room, they could not be heard to utter a sound. When the meal was over, each servant girl brought tea with a small tray. Mascara Jade Forest took tea after each meal to keep health and not hurt her spleen and stomach.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 01:55, 12 December 2021 (UTC)

The servant girls are standing at the table with the horsetail whisks, vessels for mouthwash and handkerchiefs. Silk Plum and Splendid Phoenix King sent dishes, refreshments to guests and invited them to eat. Though there were many servant girls in the outer room, they could not be heard to utter a sound. When the meal was over, each servant girl brought tea with a small tray. Mascara Jade Forest took tea after each meal to keep health and not hurt her spleen and stomach.--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 09:23, 13 December 2021 (UTC)

[[Media:Example.ogg]]==周玖 Zhōu Jiǔ 英语语言文学（英美文学）女 202120081555==

今黛玉见了这里许多规矩不似家中，也只得随和些。接了茶，又有人捧过漱盂来，黛玉也漱了口，又盥手毕。然后又捧上茶来，这方是吃的茶。贾母便说：“你们去罢，让我们自在说说话儿。”
Mascara Jade Forest saw many rules here are not like her home. She was also easy-going. After receiving the tea, someone else took a gargle bowl for her. Mascara Jade Forest also rinsed her mouth and finished washing her hands again. Then tea which was for drinking was brought in. Then Grandma Merchant said to servants , "You all go and let's have a talk in our own comfort."

Now Mascara Jade saw many rules here are not like the rules of her home. She can only be easygoing. She caught the teacup. Some domestics came over with a mouthwash basin. Mascara Jade gargled and washed her hands. Then the servant brought back tea, and this was tea for drinking.Then Dowager Lady Jia said to servant, "You all go and let's have a talk in our own comfort."--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 10:47, 13 December 2021 (UTC)

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

王夫人遂起身，又说了两句闲话儿，方引李、凤二人去了。贾母因问黛玉念何书，黛玉道：“刚念了《四书》。”黛玉又问姊妹读何书，贾母道：“读什么书，不过认几个字罢了。”

Lady King stood up and said something idle, then led Lady Plum and Splendid Phoenix King to leave. When Dowager Lady Jia asked Mascara Jade what books she had read, Mascara Jade replied, "I just have read the ''Four Books''." When Mascara Jade asked her sisters what books they read, Dowager Lady Jia said, "They don't read anything. They only know a few words."--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 09:25, 13 December 2021 (UTC)

Lady King rose as soon as she heard these words, and having made a few irrelevant remarks, she led the way and left the room along with the two ladies, Mrs. Li and Splendid Phoenix king.Grandma Merchant, having inquired of Mascara Jade what books she was reading, "I have just begun reading the Four Books," Mascara Jade replied. "What books are my cousins reading?" Mascara Jade went on to ask. "Books, you say!" exclaimed Grandma Merchant; "why all they know are a few characters, that's all."--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:15, 15 December 2021 (UTC)

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

一语未了，只听外面一阵脚步响，丫鬟进来报道：“宝玉来了。”黛玉心想：“这个宝玉，不知是怎样个惫懒人呢。”及至进来一看，却是位青年公子：头上戴着束发嵌宝紫金冠，齐眉勒着二龙戏珠金抹额；

The sentence was barely out of her lips, when a continuous sounding of footsteps
was heard outside, and a waiting maid entered and announced that Precious Jade was
coming. Mascara Jade was speculating in her mind how it was that this Precious Jade had
turned out such a good-for-nothing fellow, when he happened to walk in.
He was, in fact, a young man of tender years, wearing on his head, to hold his
hair together, a cap of gold of purplish tinge, inlaid with precious gems.
Parallel with his eyebrows was attached a circlet, embroidered with gold, and
representing two dragons snatching a pearl.
--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 08:36, 13 December 2021 (UTC)

After a word, only a sound of footsteps outside, the maid came in and reported: "Baoyu is here." Daiyu thought to herself: "This Baoyu, I don't know what a tired lazy person." When she came in, she was a young man. He wears a purple and gold crown with hair inlaid on his head, and his forehead are tied with gold frontlet（The shape is two dragons playing with pearled）.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 15:21, 11 December 2021 (UTC)

==周清 Zhōu Qīng 法语语言文学女 202120081558==

一件二色金百蝶穿花大红箭袖，束着五彩丝攒花结长穗宫绦，外罩石青起花八团倭缎排穗褂；登着青缎粉底小朝靴。面若中秋之月，色如春晓之花；鬓若刀裁，眉如墨画，鼻如悬胆，睛若秋波。

A big red arrow sleeve decorated with two-color golden butterfly flowers, is tied with multicolored silk and knotted with long spikes, and is covered with azurite and satin rowed gowns; it wears small green satin and powder-soled boots. The face is as round and beautiful as the moon of Mid-Autumn Festival, the complexion is like a flower of spring dawn; the temples are like a knife cut, the eyebrows are like ink painting, the nose is like a hanging gall, and the eyes are like autumn waves.

A big red arrow sleeve decorated with two-color golden butterfly flowers, is tied with multicolored silk and knotted with long spikes, and is covered with azurite and satin rowed gowns; he wore small green satin and powder-soled boots. The face is as round and beautiful as the moon at mid-autumn, the complexion is like a flower of in spring; the temples as if chiselled with a knife, the eyebrows are like ink painting, the nose is like a a well-cut and shapely nose, and the eyes are like vernal waves.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:19, 13 December 2021 (UTC)

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

虽怒时而似笑，即嗔视而有情。项上金螭缨络，又有一根五色丝绦，系着一块美玉。黛玉一见，便吃一大惊，心中想道：“好生奇怪：倒像在那里见过的，何等眼熟！”只见这宝玉向贾母请了安，贾母便命：“去见你娘来。”

His angry look even resembled a smile; his glance was full of sentiment.Round his neck he had a gold dragon necklet with a fringe; also a cord of variegated silk, to which was attached a piece of beautiful jade. When Mascara Jade Forest saw this, she was shocked."How very strange." she was reflecting in her mind; "it would seem as if I had seen him somewhere or other, for his face appears extremely familiar to my eyes;" Precious Jade Merchant greeted Grandma Merchant "Go and see your mother and then come back," remarked her venerable ladyship.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:08, 13 December 2021 (UTC)

His angry look somentimes even resembled a smile; his glance was full of sentiment.Round his neck he had a gold dragon necklet with a fringe; also a cord of silk of five colours, to which was attached a piece of beautiful jade. When Mascara Jade Forest saw this, she was shocked and thought to herself: "How strange it is." she was reflecting in her mind; "as if I had seen him somewhere or other, for his face appears extremely familiar to my eyes;" Precious Jade Merchant greeted Lady Dowager "Go and see your mother and then come back."--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 11:46, 16 December 2021 (UTC)

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

即转身去了。一会再来时已换了冠带：头上周围一转的短发都结成小辫，红丝结束，共攒至顶中胎发，总编一根大辫，黑亮如漆，从顶至梢，一串四颗大珠，用金八宝坠脚；身上穿着银红撒花半旧大袄；仍旧带着项圈、宝玉、寄名锁、护身符等物；

Then turned around and went. He has changed the crown band when coming back for a while: the short hair around the head is braided, the red silk ends, and the hair is gathered up to the top of the fetus. The chief editor is a big braid, black and shiny, from top to tip , A string of four large beads, with gold eight treasures falling to the feet; wearing a silver-red half-old coat with flowers; still wearing collars, gems, locks, amulets, etc.;

He turned away. When he came back later, he had changed his crown belt: the short hair around his head was braided, and the red silk ended. He saved up to the top and middle fetal hair. The chief editor had a big braid, black and bright as paint, a string of four big beads from the top to the tip, and dropped his feet with gold eight treasures; He was wearing a silver red flower sprinkled semi-old coat; Still wearing collars, precious jade, name sending locks, amulets, etc--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 12:56, 16 December 2021 (UTC)

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

下面半露松绿撒花绫裤，锦边弹墨袜，厚底大红鞋。越显得面如傅粉，唇若施脂；转盼多情，语言若笑。天然一段风韵，全在眉梢；平生万种情思，悉堆眼角。看其外貌，最是极好，却难知其底细。
His lower body showed loose green flower pants, cotton socks and a pair of thick soled red shoes. This makes him look more beautiful. The lips seem to have been powdered with rouge; When he speaks, he often has a smile on his face, and his eyebrows can convey affection. A person's style and temperament, including what he thinks, can be conveyed through his eyes. His appearance is very good-looking, but I don't know whether he has real connotation.

==Nadia 202011080004==

后人有《西江月》二词批的极确，词曰：

==Mahzad Heydarian 玛莎 202021080004==

无故寻愁觅恨，有时似傻如狂。
Seeking sorrow and hate for no reason, sometimes seems stupid and crazy.

==Mariam toure 2020GBJ002301==

纵然生得好皮囊，腹内原来草莽。

==Rouabah Soumaya 202121080001==

潦倒不通庶务，愚顽怕读文章。

I'm not able to get through general affairs, and I'm afraid of reading articles.

==Muhammad Numan 202121080002==

行为偏僻性乖张，那管世人诽谤。
He who behaves in a perverse way has no control over the slander of course.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 03:29, 14 December 2021 (UTC)

==Atta Ur Rahman 202121080003==

又曰：富贵不知乐业，贫穷难耐凄凉。
It is also known that wealth does not know pleasure and happiness, and poverty cannot endure loneliness.

==Muhammad Saqib Mehran 202121080004==

可怜辜负好时光，于国于家无望。
Translation: The poor lived up to the good times, and the country was hopeless at home.

==Zohaib Chand 202121080005==

天下无能第一，古今不肖无双。

==Jawad Ahmad 202121080006==

寄言纨袴与膏粱，莫效此儿形状。

English; the author is to give some suggestion to playboys of high official that they do not follow the example of Jia Baoyu.

==Nizam Uddin 202121080007==

却说贾母见他进来，笑道：“外客没见就脱了衣裳了，还不去见你妹妹呢。”

But she said that Mother Jia saw him come in and smiled: "The foreigner took off her clothes without seeing him, so she won't go to see your sister."

==Öncü 202121080008==

宝玉早已看见了一个袅袅婷婷的女儿，便料定是林姑妈之女，忙来见礼。

Precious Jade had already seen a daughter with a gentle posture, thought might be the daughter of Aunt Lin, then hurried to meet her.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:17, 13 December 2021 (UTC)

==Akira Jantarat 202121080009==

归了坐细看时，真是与众各别。

When I look at you carefully, I think you are different.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 09:59, 13 December 2021 (UTC)

When I returned to take a closer look, it was really different. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 07:41, 12 December 2021 (UTC)

==Benjamin Wellsand 202111080118==

只见：两弯似蹙非蹙笼烟眉，一双似喜非喜含情目。

I saw two bends like the frowning of smoked eyebrows, at first they seemed happy but not really happy, yet affectionate eyebrows. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 07:41, 12 December 2021 (UTC)

I saw: two curved eyebrows that looked like a frown, a pair of eyebrows that seemed to be happy or not. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 23:18, 12 December 2021 (UTC)

==Asep Budiman 202111080020==

态生两靥之愁，娇袭一身之病。

The sorrow of the two distresses, the disease of the whole body. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 23:17, 12 December 2021 (UTC)

The sorrow of two distresses, spoiled - the disease of the whole body.------Ei Mon Kyaw [[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:15, 15 December 2021 (UTC)--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:15, 15 December 2021 (UTC)Ei Mon Kyaw

==Ei Mon Kyaw 202111080021==

泪光点点，娇喘微微。

Tears shone a little, and she breathed slightly.--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 15 December 2021 (UTC)Ei Mon Kyaw -----Ei Mon Kyaw[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 15 December 2021 (UTC)
The tears droped, and she breathed slowly. --[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 11:58, 15 December 2021 (UTC)

The eyes twinkled with tears and she breathed slightly.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 12:18, 19 December 2021 (UTC)

20211124 homework

2021-12-30T04:57:51Z

Wei Zhaoyan: /* 魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学）女 202120081527 */

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

==陈静 Chén Jìng 国别女 202020080595==

我很纳闷：《不自弃文》是篇名，《姬子》是书名，应该同等对待，要么都予注释，要么都不注释，为什么一注一不注呢？难道前者生僻而需要注释，后者人所共知而不必注释吗？显然不是，只能说是避难就易，这与注释的宗旨完全背道而驰。
I wonder that since No Self-surrender is the title of the passage and Jizi is the title of the book, which should be treated equally, why did the situation happened that one annotated while one did not? Did the former need to be annotated while the latter is known to all without having to be annotated? Obviously, it is for choosing the easier way, which is completely contrary to the purpose of the annotation.

I wonder: "don't abandon yourself" is the title, and "Ji Zi" is the title of the book. It should be treated equally, either annotated or not annotated. Why not annotate one note at a time? Is it true that the former is remote and needs annotation, while the latter is well known and does not need annotation? Obviously not, it can only be said that it is easy to avoid difficulties, which is completely contrary to the purpose of the notes.

--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 07:01, 24 November 2021 (UTC)

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

那怕注为“《姬子》不详”，也还不失为态度诚实。老实说，起初我对《姬子》也一头雾水，因为见所未见，闻所未闻。但根据我自定的注释原则，我不能回避。

Even if it is noted as "Ji Zi" unknown ", it can be regarded as an honest attitude. To be honest, at first I was confused about Ji Zi, because I had never seen or heard of it. But according to my own annotation principle, I can't avoid it.
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 11:20, 21 November 2021 (UTC)

Even if it is noted as "unknown Ji Zi" , it can still be regarded as an honest attitude. To be honest, at first I was confused about ''Ji Zi'', because I had never seen or heard of it. But according to my own annotation principle, I can't avoid it.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 14:36, 22 November 2021 (UTC)Chen Huini

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

于是我首先求助于《中国古典数字工程》，肯定了中国根本不存在《姬子》这么一本书，完全是曹雪芹所杜撰，正如《古今人物通考》、《中国历代文选》都是曹雪芹杜撰一样。其次，我记得俞平伯先生有一篇专门解释《姬子》的文章，但文章的题目、发表时间以及文章内容却不记得了。经过两天的翻箱倒柜，我终于找到了这篇文章，它的题目是《读〈红楼梦〉随笔》第九节《姬子》，初载于《文汇报》1954年1月25日；又收入《红楼梦研究参考资料选辑》第二辑，人民文学出版社1973年11月出版。

Therefore, I first made reference htiw "Chinese Classical Digital Engineering" and confirmed that there was no such a book called "Ji Zi" in China, which was completely written by Cao Xueqin, just as Cao Xueqin wrote "General Examination of Ancient and Modern Characters" and "Selected Chinese Writings in Past Dynasties". Secondly, I remember that Mr. Yu Pingbo had a special article explaining ''JiZi'', but I do not remember the title, publication time and content of the article. After two days of searching, I finally found this article. Its title is ''Ji Zi'', section 9 of Essays on Reading ''A Dream of Red Mansion''. It was first published in Wenhui Daily on January 25, 1954. It was also included in the second series of ''Selected Research Reference Materials on A Dream of Red Mansion'', published by People's Literature Publishing House in November 1973.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 14:46, 22 November 2021 (UTC)Chen Huini

So, I firstly searched ''Chinese Classical Digital Engineering'' and confirmed there was no such a book called "Ji Zi" in China. This book was completely made up by Cao Xueqin like the same thing he did to ''General Examination of Ancient and Modern Characters'' and ''Selected Chinese Writings in Past Dynasties''.Then, I recalled that Mr. Yu Pingbo especially wrote an article to explain ''Ji Zi'', but I didn't remember the title, publication time and content.After two days of searching, I finally found it. The title of it was ''Ji Zi'', section 9 of Essays on Reading ''A Dream of Red Mansion'' which was first published in Wenhui Daily on January 25, 1954. and then was included in the second series of ''Selected Research Reference Materials on A Dream of Red Mansion'', published by People's Literature Publishing House in November 1973.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 00:20, 24 November 2021 (UTC)

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

据俞先生在文章中说：姬子书到底是部什么书呢，谁也说不上来。特别前些日子把这一回书选为高中国文的教材，教员讲解时碰到问题，每来信相询，我亦不能对。但经过研究，他还是写了这篇文章，作为回答。

According to Mr.Yu in his article: nobody can tell what book ''Ji Zi'' really is. Moreover, this chapter of ''A Dream in Red Mansions'' with the name ''Ji Zhi'' has been selected as the reading material of the high school,and I can't say anything when the teacher who failed to explain it in the classroom come to me.But after careful research, he still write an article to reply this question.

According to Mr. Yu in his article: nobody can tell what book ''Ji Zi'' really is. In particular, this chapter was selected as a reading material for the Chinese language in high school some days ago, the teachers encountered problems when explaining it, and they wrote to me every time to ask about it, but I couldn't get it right. But after researching, he wrote this article as an answer.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:37, 23 November 2021 (UTC)

==陈心怡 Chén Xīnyí 翻译学女 202120081481==

他的结论有三点：其一，《姬子》是“作者杜撰”，并以第三回的《古今人物通考》也是杜撰而作为佐证。其二，“这原来是一个笑话”，是探春“拿姬子来抵制”宝钗用以压人的朱子和孔子，而“比朱子孔子再大，只好是姬子了。殆以周公姓姬，作为顽笑”。

There are three points in his conclusion: one, ''Ji Zi'' is "the author fabricated", and to the third round of " the general examination of ancient and modern characters" is also fabricated and as proof. Second, "this turns out to be a joke", is Tanchun " take ''Ji Zi'' to resist" Baochai and used to press people by citing Zhu Zi and Confucius, and "higher level than Zhu Zi and Confucius can only be ''Ji Zi''. Probably Zhou Gong was surnamed Ji as a joke.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:35, 23 November 2021 (UTC)
There are three points in his conclusion: first, ''Ji Zi'' is "fabricated by the author", and can be proved by the fabrication of the third round of " the general examination of ancient and modern characters". Second, "this turns out to be a joke", which Tanchun " held ''Ji Zi'' to resist” Baochai who used to press her by citing Zhu Zi and Confucius, but “requiring higher level than Zhu Zi and Confucius, there’s only be ''Ji Zi''. Probably Zhou Gong was surnamed Ji as a joke.”--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 12:25, 23 November 2021 (UTC)

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

其三，“有人或者要问为什么净瞎捣乱，造书名？我回答：这是小说。”《中国古典数字工程》可以证明俞先生的“杜撰说”是正确的，因此我把俞先生的意见用以注释《姬子》。
Thirdly, "Someone may ask why messing around and making a title? I replied: This is a novel. "It can be proved by ''The Chinese Classical Digital Engineering'' that Mr. Yu’s “theory of fabrication” is correct. Therefore, I applied Mr. Gong's opinion to annotate ''Jizi''.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 04:56, 23 November 2021 (UTC)

Thirdly, "Someone may ask why to mess around and make a title? I replied: This is a novel. "It can be proved by ''The Chinese Classical Digital Engineering'' that Mr. Yu’s ''Theory of Fabrication'' is correct. Therefore, I applied Mr. Gong's opinion to annotate ''Ji Tzu''.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 11:01, 26 November 2021 (UTC)

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

据我所知，现在有人搜集了周公的几篇佚文，将其编为集子，按照《老子》、《庄子》、《孟子》之类的惯例，即命名为《姬子》，但这与曹雪芹毫不相干，《红楼梦》中的《姬子》书名绝对是杜撰。此外，有的注本虽然对《不自弃文》作了注释，却只是简述该文的大意，而没有注出曹雪芹的深刻用意。原来朱熹的徒子徒孙认为此文格调低下，有失朱夫子的身份，故将此文排除在众多朱熹文集之外，只有明·朱培编《文公大全集补遗》卷八从抄本《朱熹家谱》中引录，另有《朱子文集大全类编·卷二一·庭训》亦予收录。

As far as I know, someone collected several lost articles of Duke of Zhou, edited them into an anthology and named it ''Ji Tzu'' according to the routine of ''Lao Tzu'', ''Chang Tzu'' and ''Mencius'' and so on. However, this thing is irrelevant to Cao Xueqin, so the title of ''Ji Tzu'' in ''A Dream in Red Mansions'' is absolutely fabricated. Besides, although some books with annotations made interpretation to ''No Self-surrender'', they just told the main idea of this article rather than annotating the deep meaning made by Cao Xueqin. In fact, disciples and followers of Zhu Xi thought the style of this passage beneath his dignity is very low, so they excluded it out of many anthologies of Zhu Xi. Only when Zhu Pei(Ming dynasty) edited the eighth roll of ''Supplement to Collected Works of Duke Wen'', he incited it from transcript of ''Zhu Xi’s Genealogy''. In addition, it is also included in ''Complete Works of Zhu Tzua•Roll Twenty-one•Home Hearing''.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 03:47, 21 November 2021 (UTC)

As far as I know, now someone collected several lost articles of Duke of Zhou and edited them into a collection that was named ''Ji Tzu'' according to the routine of ''Lao Tzu'', ''Chang Tzu'' and ''Mencius'' and so on. However, this thing is irrelevant to Cao Xueqin, so the title of ''Ji Tzu'' in ''A Dream in Red Mansions'' is absolutely fabricated. Besides, although some books with annotations made interpretations to ''No Self-surrender'', they just briefly described the main idea of this article rather than annotating the deep meaning of Cao Xueqin. In fact, disciples and followers of Zhu Xi thought this passage was low in style and demeaned Zhu Xi, so they excluded it out of many anthologies of Zhu Xi. Only when Zhu Pei(Ming dynasty) edited the Book Eight of ''Supplement to Collected Works of Duke Wen'', he incited it from transcript of Zhu Xi’s Genealogy. In addition, ''Complete Works of Zhu Tzua• Book Twenty-one•Home Hearing'' was also included.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 03:07, 22 November 2021 (UTC)

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

曹雪芹借宝钗之口说出这篇少见的文章，一则以显示宝钗无书不读，再者也暗示自己博览群籍，同时也对那些自封的朱熹卫士予以调侃。可见曹雪芹即使开玩笑，也非闲笔，总有一定的用意。（详见注释）鉴于所要注释的词语性质不同，因此对注文的要求也有所不同。

Saying this rare writing through Precious Hairpin Marshgrass, on the one hand Cao Xueqin showed her strong love of reading as well as implied own extensive reading, and on the other, he played off those self-appointed guards of Zhu Xi. Obviously, his joking is not casual but absolutely with some profound meaning.(see annotations) The nature of words annotated is different, so the requirements for explanatory notes are different as well.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 02:41, 22 November 2021 (UTC)

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

其一，对于一般的疑难词语，重在疏通文意，多不引经据典，追根溯源。其二，对于成语、典故，则既要注明其出典，又要解释其本义，还要说明其引申义或比喻义。其三，对于各种名物（如建筑、服饰、官署、官职、琴棋书画、医卜星相等），则力求变专门术语为通俗语言，以利读者理解。

Firstly, as for normally confusing words, the emphasis is on clearing up the meaning of the text, as much quoting scripture and tracing the roots as possible. Secondly, for idioms and allusions, it is necessary to indicate their origins, explain their original meanings, and also include their derivative meanings or metaphorical meanings. Thirdly, for all kinds of physical objects (such as architecture, costumes, official offices, official positions, Four Arts( qin, chess, calligraphy and painting), medicine, divination and astrology, etc.), the attempt is to turn specialized terms into common language in order to facilitate readers’ understanding.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:24, 24 November 2021 (UTC)

Firstly, as for common confusing words, it should emphasize on clearing up the meaning of the text, as much quoting scripture and tracing the roots as possible. Secondly, for idioms and allusions, it is necessary to indicate their origins, explain their original meanings, and also include their derivative meanings or metaphorical meanings. Thirdly, for various technical terms of objects (such as architecture, costumes, official offices, official positions, Four Arts( qin, chess, calligraphy and painting), medicine, divination and astrology, etc.), the attempt is to turn specialized terms into common language in order to facilitate readers’ understanding.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 12:17, 28 November 2021 (UTC)

==付诗雨 Fù Shīyǔ 日语语言文学女 202120081486==

其四，对于历史名人，则注明其所在朝代、简历及突出事迹。对于传说人物，则注明其出处及相关故事。其五，对于珍禽异兽、奇花异卉等，则注明其出处来历、奇异之处及相关故事。

Fourthly, as for historical celebrities, their dynasties, resumes and outstanding deeds should be indicated. As for legendary figures, their sources and related stories should be indicated. Fifthly, as for rare birds and animals, unusual flowers and different plants, etc., their origins and histories, peculiar places and related stories should be indicated.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 14:36, 23 November 2021 (UTC)

Fourthly, as for historical celebrities, their dynasties, resumes and outstanding deeds should be indicated. As for legendary figures, their sources and related stories should be indicated. Fifthly, as for rare birds and fabulous beasts, unusual flowers and different plants, etc., their origins and histories, peculiarities and related stories should be indicated.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 15:50, 23 November 2021 (UTC)

==高蜜 Gāo Mì 翻译学女 202120081487==

其六，对于风俗、礼仪、节气等，则注明其形成沿革、具体内容。其七，对于谜语，则既要揭出谜底，又要解释谜语中的疑难词语、成语典故，还要说明谜底的根据。对于酒令，则要参照令谱，详述酒令的玩法及过程。

Sixthly, in terms of customs, etiquette and solar terms, its formation, development and content should be indicated. Seventhly, in terms of riddles, answers should be uncovered and an explanation is expected to be given to the answer as well as to difficult words, idioms and allusions in the riddle. Finally, in terms of drinking games, elaboration should be given on the rules and the process according to the instruction manual.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 15:51, 23 November 2021 (UTC)

Sixthly, in terms of customs, etiquette and solar terms, its formation, development and content should be indicated. Seventhly, in terms of riddles, answers should be uncovered and it is necessary to explain the difficult words and idioms in the riddle, and to explain the basis of the answer.Finally, in terms of drinking games, elaboration should be given on the rules and the process according to the instruction manual.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 05:45, 27 November 2021 (UTC)

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

其八，对于所引前人诗、词、曲、文等，皆要注明出处；诗、词、曲照录全文，文则节录相关的文字。其九，对于具有隐寓或暗示意味的诗、词、曲、文、成语、典故、谜语、酒令等，因其关系到故事情节的发展和人物性格、运命的描写，故除了作注释之外，还要揭示其隐藏的含义。总而言之，注文以释难为易、释疑为明为宗旨，以释义准确、释文简炼为目标。

Eighthly, reference to predecessors' poems, Ci, Qu, essay, etc., must indicate the source; Poems, Ci, Qu are transcribed without changing the original words, and the essay takes the relevant words. Ninthly, for poems, Ci, Qu, essay, idioms, allusions, riddles, drinkers’ wager game and so on with implicit or suggestive meaning, because they are related to the development of the story plot and the description of the character and fate, so in addition to making annotations, but also to reveal his hidden meaning. In a word, the annotations aim to explain the difficulty as easy, to explain the doubt as clear. Aim to explain the meaning accurately and explain the text concisely.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 05:32, 27 November 2021 (UTC)

Eight, all quotations from poems, lyrics, songs and essays should be attributed to the source; the poems, lyrics and songs should be reproduced in their entirety, while the essays should be excerpted from the relevant texts. Nine, for poems, lyrics, songs, texts, idioms, allusions, riddles, wine orders, etc., which have an implicit or suggestive meaning, as they relate to the development of the storyline and the description of the characters' personalities and fortunes. The commentary should reveal their hidden meanings in addition to annotations. All in all, the aim of the commentary is to explain the difficult for the easy and the doubtful for the clear, and to explain the meaning accurately and to explain the text concisely.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 12:32, 28 November 2021 (UTC)

==何芩 Hé Qín 翻译学女 202120081489==

愿望虽然如此，但学力有限，经验欠缺，愿望能否实现，毫无把握。诚望方家指教，读者检验。

第一回甄士隐梦幻识通灵贾雨村风尘怀闺秀

Although I wish to do so, I am not sure whether my wish can be realized because of my limited learning and lack of experience.I hope that the readers will test it.

Chapter 1 Hidden Turth--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 12:33, 28 November 2021 (UTC)

Although I wish to do so, I am not sure whether the wish can come true with my limited ability and experience. Sincerely hope that other authors teach something and readers check it.

Chapter 1 Zhen Shiyin, in a vision, apprehends spirituality. Jia Yucun, in the windy and dusty world, cherishes fond thoughts of a beautiful maiden. --[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 07:21, 24 November 2021 (UTC)

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

此开卷第一回也。作者自云：曾历过一番梦幻之后，故将真事隐去，而借“通灵”之说，撰此《石头记》一书也，故曰“甄士隐”云云。但书中所记何事何人

This is the first chapter of the book. The author said that after going through the illusion, he prefered covering some truth and in virtue of mysticism wrote the novel ''The Story of the Stone''，so instead he used the name of Zhen Shiyin as a major speaker. But things and people noted in it--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 03:59, 23 November 2021 (UTC)

This is the first chapter of the book.Subsequent to the visions of a dream which he had，on some previous occasion，experienced，the writer personally relates，he designedly concealed the true circumstances，and borrowed the attributes of perception and spirituality to relate this story of the Record of the Stone. With this purpose，he made use of such designations as Chen Shih-yin and the like. What are，however，the events recorded in this work？--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 10:19, 24 November 2021 (UTC)

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

自己又云：“今风尘碌碌，一事无成。忽念及当日所有之女子，一一细考较去，觉其行止见识，皆出我之上；我堂堂须眉，诚不若彼裙钗：我实愧则有馀，悔又无益，大无可如何之日也。当此日，欲将已往所赖天恩祖德，锦衣纨袴之时，饫甘餍肥之日，背父兄教育之恩，负师友规训之德，以致今日一技无成、半生潦倒之罪，编述一集，以告天下：知我之负罪固多，然闺阁中历历有人，万不可因我之不肖，自护己短，一并使其泯灭也。

The author speaking for himself, goes on to explain, with the lack of success which attended every single concern, I suddenly bethought myself of the womankind of past ages. Passing one by one under a minute scrutiny, I felt that in action and in lore, one and all were far above me; that in spite of the majesty of my manliness, I could not, in point of fact, compare with these characters of the gentle sex. And my shame forsooth then knew no bounds; while regret, on the other hand, was of no avail, as there was not even a remote possibility of a day of remedy.On this very day it was that I became desirous to compile, in a connected form, for publication throughout the world, with a view to (universal) information, how that I bear inexorable and manifold retribution; inasmuch as what time, by the sustenance of the benevolence of Heaven, and the virtue of my ancestors, my apparel was rich and fine, and as what days my fare was savory and sumptuous, I disregarded the bounty of education and nurture of father and mother, and paid no heed to the virtue of precept and injunction of teachers and friends, with the result that I incurred the punishment, of failure recently in the least trifle, and the reckless waste of half my lifetime. There have been meanwhile, generation after generation, those in the inner chambers, the whole mass of whom could not, on any account, be, through my influence, allowed to fall into extinction, in order that I, unfilial as I have been, may have the means to screen my own shortcomings.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 12:42, 22 November 2021 (UTC)

The author goes on to explain, with the lack of success which attended every single concern, I suddenly bethought myself of the womankind of past ages. Thinking of them one by one under a minute scrutiny, I felt that in action and in lore, one and all were far above me; that in spite of the majesty of my manliness, I could not, in point of fact, compare with these characters of the gentle sex. And my shame forsooth then knew no bounds; while regret, on the other hand, was of no avail, as there was not even a remote possibility of a day of remedy.On this very day it was that I became desirous to compile, in a connected form, for publication throughout the world, with a view to (universal) information, how that I bear inexorable and manifold retribution; inasmuch as what time, by the sustenance of the benevolence of Heaven, and the virtue of my ancestors, my apparel was rich and fine, and as what days my fare was savory and sumptuous, I disregarded the bounty of education and nurture of father and mother, and paid no heed to the virtue of precept and injunction of teachers and friends, with the result that I incurred the punishment, of failure recently in the least trifle, and the reckless waste of half my lifetime. There had been meanwhile, generation after generation, those in the inner chambers, the whole mass of whom could not, on any account, be, through my influence, allowed to fall into extinction, in order that I, unfilial as I have been, may have the means to hide my own shortcomings.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:34, 22 November 2021 (UTC)

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

所以蓬牖茅椽，绳床瓦灶，并不足妨我襟怀；况那晨风夕月，阶柳庭花，更觉得润人笔墨。我虽不学无文，又何妨用假语村言敷演出来，亦可使闺阁昭传，复可破一时之闷，醒同人之目，不亦宜乎？”故曰“贾雨村”云云。

"Though my home is now a thatched cottage in which there are shabby windows, bed made of rope and earthen stove, all of these can not change my being broad and level. Besides, the morning breeze, the dew of night, the willows by me steps and the flowers in the yard inspired me to wield my pen. Though I have little learning and literary talent, it doesn't matter if I tell a tale in rustic language to record those lovely girls. This should help readers distract them from their worries. And that's the reason why I use the name Rainvillage Merchant."--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 13:27, 21 November 2021 (UTC)

"Though my home is now a thatched cottage in which there are shabby windows, bed made of rope and earthen stove, all of these can not change my being broad and level. Besides, the morning breeze, the dew of night, the willows by me steps and the flowers in the yard inspired me to wield my pen. Though I have little learning and literary talent, it doesn't matter if I tell a tale in rustic language to record those lovely girls. This should help readers distract them from their worries. And that's the reason why I use the name Jia Yucun."--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 14:19, 23 November 2021 (UTC)

==曾俊霖 Zēng Jùnlín 国别男 202120081478==

更于篇中间用“梦”、“幻”等字，却是此书本旨，兼寓提醒阅者之意。看官：你道此书从何而起？说来虽近荒唐，细玩颇有趣味。

In the middle of the article, the words "dream" and "fantasy" are the purpose of the book and the meaning of reminding readers. Reader: where did you start this book? Although it's absurd, it's fun to play.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:21, 23 November 2021 (UTC)
In the middle of the article, the words "dream" and "fantasy" are the purpose of the book and the meaning of reminding readers. Reader: where did you start this book? Although it's absurd, it's fun to play.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 13:33, 24 November 2021 (UTC)Huang Zhuliang

==黄柱梁 Huáng Zhùliáng 国别男 202120081493==

却说那女娲氏炼石补天之时，于大荒山无稽崖，炼成高十二丈、见方二十四丈大的顽石三万六千五百零一块，那娲皇只用了三万六千五百块，单单剩下一块未用，弃在青埂峰下。谁知此石自经锻炼之后，灵性已通，自去自来，可大可小。因见众石俱得补天，独自己无才，不得入选，遂自怨自愧，日夜悲哀。一日，正当嗟悼之际，俄见一僧一道远远而来，生得骨格不凡，丰神迥异，来到这青埂峰下，席地坐谈。It is said that, once upon a time, when Nuwa was refining stones to mend the sky, she refined them into 36,501 pieces of hard stones 12-feet high and 24-feet square on the Wuji Cliff of the Da Huangshan Mountain. Numa, the creator of human beings in Chinese myth, only used 36,500 pieces, leaving only one unused and abandoned it under the Qinggeng Peak.Who knows, after the stone has been refined and created, its spirit has been passed. It can be big or small.Seeing that all the stones were able to mend the sky, he had no talent and could not be selected, so he complained and felt ashamed and mourned day and night. One day, at the time of mourning, he suddenly saw a monk and a Taoism priest with extraordinary personality coming from afar. They came to the Qinggeng Peak and sat on the ground to talk.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 13:34, 24 November 2021 (UTC)Huang Zhuliang

It is said that, once upon a time, when Nuwa(Goddesses of Sky-patching) was refining stones to mend the sky, she refined them into 36,501 pieces of hard stones 12-feet high and 24-feet square on the Wuji Cliff of the Da Huangshan Mountain. Numa, the creator of human beings in Chinese myth, only used 36,500 pieces, leaving only one unused and abandoned it under the Qinggeng Peak.Who knows, after the stone has been refined and created, it had its spirit, it moved freely and could be big or small.Seeing that all the stones were able to mend the sky, he had no talent and could not be selected, so he complained and felt ashamed and mourned day and night. One day, at the time of mourning, he suddenly saw a monk and a Taoism priest with extraordinary personality coming from afar. They came to the Qinggeng Peak and sat on the ground to talk.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 05:57, 26 November 2021 (UTC)

==金晓童 Jīn Xiǎotóng 202120081494==

见着这块鲜莹明洁的石头，且又缩成扇坠一般，甚属可爱。那僧托于掌上，笑道：“形体倒也是个灵物了，只是没有实在的好处。须得再镌上几个字，使人人见了，便知你是件奇物。

It was lovely to see this bright and clean stone shrinking like a fan. Resting on his palm, the monk smiled and said, "The body is a spiritual being, but it has no real benefit. Words had to be engraved so that everyone could see you and know that you were a wonder.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 15:01, 20 November 2021 (UTC)
Looking at this bright and clean stone shrinking like a fan, which is so lovely, with the stone on his palm the monk smiled and said, "Your body is a spiritual being, but ihas no real benefits. Words should be engraved so that everyone could see you and know that you are a wonder.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 11:42, 24 November 2021 (UTC)

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

然后携你到那昌明隆盛之邦、诗礼簪缨之族、花柳繁华地、温柔富贵乡那里去走一遭。”石头听了大喜，因问：“不知可镌何字？携到何方？望乞明示。”那僧笑道：“你且莫问，日后自然明白。”
Then take you there, a city-state of prosperity, a family of scholar, a place of flowers and willows. After listening, Stone asked rejoicingly: “I do not know what word I can write? Where I will be taken to? I hope get your instruction.” The monk smiled, “You do not rush into answer, and you will know it some day.”--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 11:24, 24 November 2021 (UTC)

Then I'll take you for a walk to the prosperous country, the family of poems, gifts and tassels, the prosperous place of flowers and willows, and the gentle and rich township. " The stone was overjoyed when he asked, "I don't know what word to engrave? Where to carry it? I hope to beg clearly." the monk smiled and said, “You do not rush into answer, and you will know it some day.”--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 14:54, 28 November 2021 (UTC)

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

说毕，便袖了，同那道人飘然而去，竟不知投向何方。又不知过了几世几劫，因有个空空道人访道求仙，从这大荒山无稽崖青埂峰下经过，忽见一块大石，上面字迹分明，编述历历。空空道人乃从头一看，原来是无才补天，幻形入世，被那茫茫大士、渺渺真人携入红尘、引登彼岸的一块顽石：上面叙着堕落之乡、投胎之处，以及家庭琐事、闺阁闲情、诗词谜语，倒还全备。

Having concluded these words, he put the stone in his sleeve, and proceeded on his journey, in company with the Taoist priest. No one knows where he took the stone. Nor can it be known how many centuries and ages elapsed, before a Taoist priest, named K'ung K'ung, passed, during his researches after the eternal reason and his quest after immortality, by these Ta Huang Hills, Wu Ch'i cave and Ch'ing Keng Peak. Suddenly seeing a large stone, on the surface of which the handwriting on it is clear and the calendar is compiled, K'ung K'ung examined them from first to last. They, in fact, explained how that this stone had originally been devoid of the properties essential for the repairs to the heavens, how it would be transmuted into human form and introduced by Mang Mang the High Lord, and Miao Miao, the Divine, into the world of mortals, and how it would be led over the other bank (across the San Sara). On the surface, it describes the land of degeneration, the place of reincarnation, as well as family trivia, boudoir leisure, poetry, riddles, which could not be ascertained.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 04:54, 24 November 2021 (UTC)

Having concluded these words, he put the stone in his sleeve, and proceeded leisurely on his journey, in company with the Taoist. However, no one knew where he went. Nor can it be known how many centuries and ages elapsed, before a Taoist priest, Kongkong daoren Dauist by name, passed, during his researches after the eternal reason and his quest after immortality, by these Da Huang Hills, Wu Ch'i cave and Ch'ing Keng Peak. Suddenly perceiving a large block of stone, on the surface of which the traces of characters giving in a connected form, the various incidents of its fate could be clearly predicted. Kongkong daoren Dauist examined them from beginning to end. In fact, they explained how this block of worthless stone which had originally been devoid of the properties essential for the mending to the heavens, would be transmuted into human form and introduced by Mang Mang the High Lord, and Miao Miao, the Divine, into the world of mortals, and how it would be led over the other world (across the San Sara). On the surface, it recorded the spot of its degeneration and the place of its birth. The complete recording also included various family trifles, trivial affairs of young ladies, verses and riddles.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 06:17, 28 November 2021 (UTC)--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 12:02, 29 December 2021 (UTC)

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

只是朝代年纪，失落无考。后面又有一偈云：无才可去补苍天，枉入红尘若许年。此系身前身后事，倩谁记去作奇传？

But the name of the dynasty and the year of the reign were obliterated and could not be confirmed. There was also a Buddhist verse following behind:
Lacking in virtues to mend the azure skies,
in vain I have been into the mortal world for many years.
These facts are of a former and after life,
but who will record a strange legend for me?--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 03:57, 24 November 2021 (UTC)

But the name of the dynasty and the year of the reign were obliterated and could not be confirmed. There was also a Buddhist verse following behind:
Lacking in virtues to mend the azure sky, nothing have I gained within the years spent in the secular world. All of these about my present life and afterlife, who would record them for me?--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:59, 26 November 2021 (UTC)

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

空空道人看了一回，晓得这石头有些来历，遂向石头说道：“石兄，你这一段故事，据你自己说来，有些趣味，故镌写在此，意欲闻世传奇。据我看来：第一件，无朝代年纪可考；第二件，并无大贤大忠理朝廷、治风俗的善政，其中只不过几个异样女子，或情或痴，或小才微善。我纵然抄去，也算不得一种奇书。”

As the Taoist priest named Kongkong once has examined the stone, he had some idea about the story on it, and then said to the stone, "Brother, maybe in your opinion, the story inscribed on you is of some interest so as to be kept here to win a fame throughout the world. But to my mind, it is far from a legend book to be transcribed. Firstly, there are hardly any clues about the time period of the background; secondly, no outstanding governance regarding politics and costumes has been achieved by great talents or loyal officials, and what it mainly narrates are merely several unusual women, some stuck in love, some boasting subtle intelligence and benevolence."--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 09:02, 21 November 2021 (UTC)

As the Taoist priest named Kongkong once has examined the stone, he knew that the stone had some history, and then said to the stone, "Brother, maybe in your opinion, the story inscribed on you is of some interest so as to be kept here to win a fame throughout the world. But to my mind, it is far from a legend book to be transcribed. Firstly, there are hardly any clues about the time period of the background; secondly, no outstanding governance regarding politics and costumes has been achieved by great talents or loyal officials, and what it mainly narrates are merely several unusual women, some stuck in love, some boasting subtle intelligence and benevolence."--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 03:05, 27 November 2021 (UTC)

==李双 Lǐ Shuāng 翻译学女 202120081499==

石头果然答道：“我师何必太痴？我想历来野史的朝代，无非假借汉、唐的名色；莫如我这石头所记，不借此套，只按自己的事体情理，反倒新鲜别致。况且那野史中，或讪谤君相，或贬人妻女，奸淫凶恶，不可胜数；更有一种风月笔墨，其淫秽污臭，最易坏人子弟。

The stone answered: “Why are you so stubborn? I think the dynasties of unofficial history are nothing more than under the guise of Han, Tang. They are not as good as the stories recorded by me, a stone, which don’t follow the convention but according to the real facts and therefore are more novel on the contrary. Moreover, those unofficial histories are either slandering the emperor and his subjects, or belittling other people’s wives and children. There are countless descriptions of ferocity and adultery which are the most likely to have a bad influence on the younger generation.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 10:54, 24 November 2021 (UTC)

The stone answered: “Why are you so stubborn? I think the dynasties recorded in the unofficial histories are nothing more than under the guise of Han and Tang Dynasty. They are not as good as the stories recorded by me, a stone, which don’t follow the convention but according to the real facts and therefore are more novel on the contrary. Besides, those unofficial histories are either slandering the emperor and his subjects, or belittling other people’s wives and children. There are countless descriptions of ferocity and adultery which are most likely to have a bad influence on the younger generation.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 11:10, 24 November 2021 (UTC)

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

至于才子佳人等书，则又开口文君，满篇子建，千部一腔，千人一面，且终不能不涉淫滥。在作者不过要写出自己的两首情诗艳赋来，故假捏出男女二人名姓；又必旁添一小人拨乱其间，如戏中小丑一般。更可厌者，之乎者也，非理即文，大不近情，自相矛盾。

As for the books about the talented and the beauties, they talked about Wen and Jun, the pages were also full of Zi and Jian. A thousand volumes present the same thing, and a thousand person are also in the same character. Moreover, they cannot avoid to some licentious things. The authors, who had to write several sentimental odes and elegant ballads, had falsely invented the names of both men and women, and also some bad guys who like a clown in a play made some troubles in there. As for the annoying men, they had nothing in their minds and talked about Li and Wen, which had no link with the targeted things and paradoxical in the whole.--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 00:53, 22 November 2021 (UTC)
As for books related to talented scholars and beautiful ladies, he also talked about Wenjun, who is good at articles and is capricious, but he could not avoid prostitution in the end. The author just wants to write two of his own love poems, so he falsely pinches out the names of men and women; he must add a little person to make trouble in the meantime, like a clown in a play. The more annoying, the more it is, the unreasonable is the literary, the most unkind, self-contradictory.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 03:24, 24 November 2021 (UTC)

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

竟不如我这半世亲见亲闻的几个女子，虽不敢说强似前代书中所有之人，但观其事迹原委，亦可消愁破闷；至于几首歪诗，也可以喷饭供酒。其间离合悲欢，兴衰际遇，俱是按迹循踪，不敢稍加穿凿，至失其真。只愿世人当那醉馀睡醒之时，或避事消愁之际，把此一玩，不但是洗旧翻新，却也省了些寿命筋力，不更去谋虚逐妄了。
It’s not as good as the few women I’ve seen and heard about in this half of my life. Although I dare not say that she is better than all the people in the books of the previous generations. Looking at their deeds, you can also relieve your sorrow and boredom. As for a few poor poems, you can also taste them while eating and drinking.The joys and sorrows, the ups and downs all follow the traces, daring not to lose the truth. I only hope that when the world is awake, or when avoiding troubles and sorrows ,they can enjoy it, not only to renovate, but also to save some lifespan and energy, not to seek falsehood.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 03:15, 24 November 2021 (UTC)

I am not as good as the women I have seen and heard in my life. Though I cannot say that they are as good as all the people in the books of previous generations, I can relieve my sorrow and despair by watching their deeds. As for a few crooked poems, you can also spray rice for wine. During the separation of joys and sorrows, ups and downs, are all traced, dare not slightly cut, to lose its true. I only hope that when people wake up from their drunkenness, or when they are relieved of their sorrow, they will not only wash the old and renew it, but also save some strength of life, so as not to seek for false things.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 04:39, 24 November 2021 (UTC)

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

我师意为如何？”空空道人听如此说，思忖半晌，将这《石头记》再检阅一遍。因见上面大旨不过谈情，亦只是实录其事，绝无伤时诲淫之病，方从头至尾抄写回来，闻世传奇。
What does my master think?" Empty Taoist listen to say so, ponder a long time, will this "stone" review again. Seeing that the message above was only a talk of love, and only a record of it, without suffering from the disease of lewdness, I copied it back from beginning to end and heard the legend of the world.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 04:38, 24 November 2021 (UTC)--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 13:10, 29 December 2021 (UTC)

What do I mean? " After hearing this, Taoist Kongkong thought for a long time and reviewed the stone story again. Seeing that the above general purpose is nothing but romance, it is only a factual record of its affairs, and there is no disease of obscenity at the time of injury, so I copied it back from beginning to end and heard the legend of the world.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 04:35, 24 November 2021 (UTC)

==李怡 Lǐ Yí 法语语言文学女 202120081504==

从此空空道人因空见色，由色生情，传情入色，自色悟空，遂改名情僧，改《石头记》为《情僧录》。东鲁孔梅溪题曰《风月宝鉴》。后因曹雪芹于悼红轩中披阅十载，增删五次，纂成目录，分出章回，又题曰《金陵十二钗》，并题一绝。
Since then empty Taoist empty because of empty see color, from color feeling, feeling into color, since color wukong, he then changed his epithet into Monk in Love, and changed ''The story of the Stone'' into ''Record of Monk in Love''. Kong Meixi of The Eastern Lu dynasty wrote the book ''Catalogue of Chinese Ancient Romance''.After cao Xueqin in mourning red xuan read ten years, add and delete five times, compiled into a directory, a chapter back, and the title yue ''The Twelve Flowers of Gold Mausoleum '', and a must.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 04:31, 24 November 2021 (UTC)

Since then Empty Taoist saw form through emptiness, generated emotions due to form, into which emptiness was stilled and epiphany was revealed, he then changed his epithet into Monk in Love, and changed ''The story of the Stone'' into ''Record of Monk in Love'', which was called ''Catalogue of Chinese Ancient Romance'' by Kong Meixi of The Eastern Lu dynasty. Afterwards Cao Xueqin read and amended it for ten years, revised and polished it for five times, and then compiled it into a directory with chapters and sections. Finally he entitled it ''The Twelve Flowers of Gold Mausoleum'' attached with a Chinese quatrain.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 04:55, 24 November 2021 (UTC)

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

即此便是《石头记》的缘起。诗云：满纸荒唐言，一把辛酸泪。都云作者痴，谁解其中味?

This was the origin of ''The Story of The Stone''. A poem once said, “the whole novel is full of absurd words, as well as bitter tears. People all consider the author crazy, but is there anyone who knows its true meaning？--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:22, 23 November 2021 (UTC)

This is the origin of ''The Story of the Stone''. The poem says: The pages were full of idle words which was penned with hot and bitter tears; All men call the author fool, but no one understood his secret message.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 08:25, 23 November 2021 (UTC)

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

《石头记》缘起既明，正不知那石头上面记着何人何事？看官请听。按那石上书云：当日地陷东南，这东南有个姑苏城，城中阊门最是红尘中一二等富贵风流之地。

Now that the origin of the stone is clear, let us see what was written on the stone. Dear readers, please listen. Long ago, the earth dipped downwards in the southeast where there was a city named Gusu; and the quarter around Changmen Gate of Gusu was one of the most fashionable centres of wealth and nobility in the world of men. --[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 02:10, 23 November 2021 (UTC)

The origin of "The Story of the Stone" was clear, but did you know who or what was written on the stone? Please listen to me and go on. According to the record on the stone: One day, there was a subsidence in southeast and there was Gusu city. In the city, the quarter around Brothel Gate was one of the most fashionable centres of wealth and nobility in the world of men. --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 03:13, 23 November 2021 (UTC)Liu Wei

==刘薇 Liú Wēi 国别女 202120081507==

这阊门外有个十里街，街内有个仁清巷，巷内有个古庙，因地方狭窄，人皆呼作“葫芦庙”。庙旁住着一家乡宦，姓甄名费，字士隐；嫡妻封氏，性情贤淑，深明礼义。家中虽不甚富贵，然本地也推他为望族了。

Outside the city of Brothel Gate, there was a Worldly Way and a Carnal Line was on the street. In the Carnal Line, there was an ancient temple called "Gourd Temple" owing to it`s narrow location. Next to the temple lived a hometown official named Fei Potterymaker, courtesy named Hidden; his legal wife, surnamed Feng, was a virtuous person with a deep sense of courtesy and righteousness. Although the family was not very rich, the local people also thought that he was a prominent family. --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 14:02, 21 November 2021 (UTC)Liu Wei

Outside the Changmen gate was the Shili street and the Renqing lane, inside which was an ancient temple, called the "Gourd temple" for its narrow space. Next to the temple lived a retired official named Zhen Fei, whose courtesy name was Shi Yin; his legal wife Mrs. Feng was a virtuous person with a deep awareness of courtesy and righteousness. Although the family was not very rich, the locals also regarded him as a noble man.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 15:19, 22 November 2021 (UTC)

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

因这甄士隐禀性恬淡，不以功名为念，每日只以观花种竹、酌酒吟诗为乐，倒是神仙一流人物。只是一件不足：年过半百，膝下无儿；只有一女，乳名英莲，年方三岁。一日炎夏永昼，士隐于书房闲坐，手倦抛书，伏几盹睡，不觉矇眬中走至一处，不辨是何地方。

Hidden Truth had a tranquil mind, indifferent to fame or gain. The only fun in every day life was enjoying beautiful flowers and planting bamboo, drinking nectared wine and reciting poetry. What a fairy-like figure! There was only one pity, that is, though in his fifty years old, he had no son nut only one three-year-old daughter, named Pity Zhen. One day in the hot summer, Hidden Truth was sitting idly in his study. Tired, he threw away his book and fell asleep at his desk, drifting to a place he could not tell.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 03:19, 21 November 2021 (UTC)

Zhen Shiyin had a tranquil mind, indifferent to fame or gain. The only fun in every day life was enjoying beautiful flowers and planting bamboo, drinking nectared wine and reciting poetry. What a fairy-like figure! But there was one pity, that is, though in his fifty years old, he had no son nut only one three-year-old daughter, named Yinglian. One day in the hot summer, Shenyin was sitting idly in his study. He was so tired that he threw away his book and fell asleep at his desk, drifting to a place he could not tell.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 05:12, 23 November 2021 (UTC)

==刘越 Liú Yuè 亚非语言文学女 202120081509==

忽见那厢来了一僧一道，且行且谈。只听道人问道：“你携了此物，意欲何往？”那僧笑道：“你放心。如今现有一段风流公案，正该了结，这一干风流冤家，尚未投胎人世。

Unexpectedly he espied， in the opposite direction， two priests coming towards him： the one a Buddhist， the other a Taoist. As they advanced they kept up the conversation in which they were engaged. "Whither do you purpose taking the object you have brought away？" he heard the Taoist inquire. To this question the Buddhist replied with a smile： "Set your mind at ease，" he said； "there's now in maturity a plot of a general character involving mundane pleasures， which will presently come to a denouement. The whole number of the votaries of voluptuousness have， as yet， not been quickened or entered the world.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 05:07, 23 November 2021 (UTC)

Unexpectedly he espied, from the opposite direction, A monk and a Taoist coming up to him. As they advanced, they kept up the conversation in which they were engaged. "Whither do you purpose taking the thing you have brought away？" He heard the Taoist inquire. The Buddhist replied with a smile: "Set your mind at ease. There's now a case of romantic affairs, which should presently come to a denouement. The whole number of the votaries of voluptuousness involved in have not been reincarnated.--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 12:31, 24 November 2021 (UTC)

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

趁此机会，就将此物夹带于中，使他去经历经历。”那道人道：“原来近日风流冤家又将造劫历世，但不知起于何处，落于何方？”那僧道：“此事说来好笑。

Taking this opportunity, we can mingle it in them and let it experience the life on earth." The Taoist said: "So those debtors of love affairs will be reincarnated and then suffer on earth. But from which place will the reincarnation start and in which direction will them be placed still remain unsettled." The monk said: "It's a funny story. --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 12:28, 24 November 2021 (UTC)

Taking this opportunity, we can carry it away and let it experience the life on earth. ”The Taoist priest said: "The debtors of love affairs will be reincarnated and then suffer on earth recently. But it' s unknown that from when the story started and to where will it go.“ The monk said: "It's a funny story....-- --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 08:23, 28 November 2021 (UTC)

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

只因当年这个石头，娲皇未用，自己却也落得逍遥自在，各处去游玩。一日来到警幻仙子处，那仙子知他有些来历，因留他在赤霞宫中，名他为赤霞宫神瑛侍者。他却常在西方灵河岸上行走，看见那灵河岸上三生石畔有棵绛珠仙草，十分娇娜可爱，遂日以甘露灌溉，这绛珠草始得久延岁月。

This stone have not been used by The Empress Nu Wo. Thus It used to be free to roam on the heavens until one day he came to the Fairy of Wonders, who knew his special background. So she kept him in her palace and gave him the name by the Divine Eunuch of the Cabernet Palace. He often walked along the bank of West Sacred River where he saw a delicate and lovely Red Bead flower on the bank of the Three Living Stones. Being struck with the great beauty of this flower, the stone remained there, tending its protegee with the most loving care, and daily moistening its roots with the choicest nectar of the sky. Yielding to the influence of disinterested love, the Red Bead flower lived a longer life. --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 07:32, 28 November 2021 (UTC)

Because this stone in that age hasn‘t been used by a goddess in Chinese mythology，he could be careless and can go to visit many places for fun. One day，he come to the Fairy of Wonders who knew his special background. So she kept him in her palace and gave him the name by the Divine Eunuch of the Cabernet Palace.But he always walks by the bank of the West Sacred River. One day，he saw a fairy grass beside the Three Living Stones on the bank of the river，which is cute and delicate，so he irrigated it day by day，making it living longer.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 15:31, 28 November 2021 (UTC)

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

后来既受天地精华，复得甘露滋养，遂脱了草木之胎，幻化人形，仅仅修成女体，终日游于离恨天外，饥餐秘情果，渴饮灌愁水。只因尚未酬报灌溉之德，故甚至五内郁结着一段缠绵不尽之意。常说：‘自己受了他雨露之惠，我并无此水可还。
Afterwards，because of the essence of the nature and the nutrients of the dew，it gradually got rid of itself from the trees and become a human-being，but only can become a female，meandering outside all day long，when feeling hungry，she would eat fruits，and when feeling thirsty，she would drink water.The reason for her lingering emotions is that she haven‘t showed her gratitude to her benefactors.She always said that：“I was benefited from his dew，but I can‘t bring back a report.”--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 15:21, 28 November 2021 (UTC)--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 15:21, 28 November 2021 (UTC)

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

他若下世为人，我也同去走一遭，但把我一生所有的眼泪还他，也还得过了。’因此一事，就勾出多少风流冤家都要下凡，造历幻缘，那绛珠仙草也在其中。今日这石正该下世，我来特地将他仍带到警幻仙子案前，给他挂了号，同这些情鬼下凡，一了此案。”

If he could be reincarnated as human in the next life, I would also go with him but only in this time return all the sorrows to him, which can let me go through the life. “For this reason, how many pretty teases have to descend to the world suffering the illusory fates, and the Crimson Pearl Flower is also among them. Today, this stone is about to be born, so I comes here specially to bring him to the court of Fairy Maiden Jinhuan, registering him and letting him go down to the earth with ghosts in order to settle the case.”--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 12:37, 24 November 2021 (UTC)

If he could be reincarnated as human in the next life, I would go with him, but I should also return all the sorrows in this time to him, which can enable me to go through the life. "For this reason, lots of pretty teases have to descend to the world suffering the illusory destiny, and that Red Bead Flower is also amomg them. Today this jade is about to be born, so I come here specially to take him to the court of the fairy Disenchantment, endowing him with a registration and letting him go down to the earth with those sentimental ghosts so as to settle the case.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 15:16, 27 November 2021 (UTC)

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

那道人道：“果是好笑，从来不闻有‘还泪’之说。趁此，你我何不也下世度脱几个，岂不是一场功德？”那僧道：“正合吾意。你且同我到警幻仙子宫中，将这蠢物交割清楚，待这一干风流孽鬼下世，你我再去。如今有一半落尘，然犹未全集。”

The Taoist priest says:"It's really ridiculous. I have never heard of the saying of 'returning tears'. We can also take this opportunity to release several souls from purgatory (help several souls of the decease get rid of worldly sufferings). Isn't it a merit?" The monk replies:"It's exactly what I am hoping for. You and I are going to the palace of the fairy Disenchantment, and to deliver such a jade and figure it out. When these dissolute and sinful evils all pass away, we will go to the afterlife. Half of them have fallen into the earthly world, but they have not yet gathered completely."--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 15:04, 27 November 2021 (UTC)

The Taoist priest says:"It's really ridiculous. I have never heard of the saying of 'returning tears'. We can also take this opportunity to release several souls from purgatory (help several souls of the decease get rid of worldly sufferings). Isn't it a merit?" The monk replies:"It's exactly what I am hoping for. You and I will go the palace of the fairy maiden Jing Huan, and to deliver such a jade and figure it out. When these dissolute and sinful evils all pass away, we will go to the afterlife. Half of them have fallen into the earthly world, but they have not yet gathered completely."--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 06:56, 23 November 2021 (UTC)

==毛优 Máo Yōu 俄语语言文学女 202120081515==

道人道：“既如此，便随你去来。”却说甄士隐俱听得明白，遂不禁上前施礼，笑问道：“二位仙师请了。”那僧、道也忙答礼相问。

The Taoist said, "In that case, let's go with you." Then Hidden Truth heard and understood, so he could not help but go forward to salute, smiling and saying, " Please, distinguished masters." The monk and the Taoist also replied with manners.

The Taoist said, "In that case, let's go with you." Then Hidden Truth heard and understood, so he could not help but go forward to salute, smiling and saying, " Please, distinguished masters." The monk and the Taoist also immediately replied with manners.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 10:50, 24 November 2021 (UTC)

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

士隐因说道：“适闻仙师所谈因果，实人世罕闻者。但弟子愚拙，不能洞悉明白。若蒙大开痴顽，备细一闻，弟子洗耳谛听，稍能警省，亦可免沉沦之苦了。”

Hidden Truth said: "What you master talked about the cause and effect is definitely rare in the world. But I am stupid and can't fully understand it. If you can explain it for me to get rid of infatuation and stubbornness, I will listen to you carefully and then take warning from it, avoiding the suffering of enthrallment."--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 08:01, 21 November 2021 (UTC)

Hidden Truth then said, "I have just heard you master's words about karma, a truly rare insight in the world. But I am too ignorant to understand it. If I could be enlightened by you two to get rid of infatuation and stubbornness, I would certainly listen carefully to all that you say and then take warning from it, avoiding the suffering of enthrallment."--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 07:54, 22 November 2021 (UTC)

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

二仙笑道：“此乃玄机，不可预泄。到那时只不要忘了我二人，便可跳出火坑矣。”士隐听了，不便再问，因笑道：“玄机固不可泄露，但适云‘蠢物’，不知为何？或可得见否？”那僧说：“若问此物，倒有一面之缘。”

The two immortals laughed and said, "It is something metaphysical and cannot be divulged in advance. At that time, just don't forget the two of us, and you will be free from your predicament." When Hidden Truth heard this, he stopped pursuing the matter. He laughed and said, "Of course the mystery must not be divulged, but I don't quite understand what the 'stupid thing' is that you just mentioned. Perhaps I have a chance to see it?" The monk said, "This thing you are asking about, you do have the fortune to see it.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 07:39, 22 November 2021 (UTC)--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 12:48, 29 December 2021 (UTC)

The two immortals laughed and said, "It is metaphysical and cannot be divulged in advance. At that time, if you don't forget two of us, and you will be free from your predicament." When Shi Yin heard this, he stopped pursuing the matter. He laughed and said, "Of course the mystery must not be divulged, but I don't quite understand what the 'stupid thing' is that you just mentioned. Perhaps I have a chance to see it?" The monk said, "This thing you are asking about, you do have the fortune to see it.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 06:17, 29 November 2021 (UTC)

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

说着取出，递与士隐。士隐接了看时，原来是块鲜明美玉，上面字迹分明，镌着“通灵宝玉”四字，后面还有几行小字。正欲细看时，那僧便说已到幻境，就强从手中夺了去。

He said and took it out to Hidden Truth. ShiYin received it and found it a bright beautiful jade in which there were four clear characters:Tong Ling Bao Yu followes by several lines of words.When Hidden Truth craved for a careful look, that monk said that he had reached the illusion, so he snatched it from ShiYin's hand.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 02:57, 21 November 2021 (UTC)

Then he said as he took it out and handed it to Hidden Truth. Hidden Truth took a look, and it turned out to be a piece of bright beautiful jade, with clear writing above, engraved with the “Tongling jade”. There were a few lines of small characters behind. When he was about to take a closer look, the monk said he had reached the Illusory Land and snatched the jade from his hands.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 01:47, 22 November 2021 (UTC)

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

和那道人竟过了一座大石牌坊，上面大书四字，乃是“太虚幻境”。两边又有一副对联道：假作真时真亦假，无为有处有还无。士隐意欲也跟着过去，方举步时，忽听一声霹雳，若山崩地陷。

And with that Taoist priest actually passed a large stone archway, above which was engraved four big words, is “ Illusory Land of Great Void ”.On both sides there was a pair of couplets: If false is taken as the truth, then truth is said to be lieing , when nothing is taken as being, then being itself is turned into nothing. Hidden Truth also wanted to pass the big stone archway, but the moment he was about to raise his foot, he heard a crack of thunder which sounded as if the hills were rending asunder and the earth falling in.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 02:52, 21 November 2021 (UTC)

And that Taoist passed a large stone pagoda, written on it four big words, is "Taixu fantasy realm". On both sides, there is a couplet saying: "Falsehood is true when it is true, and there is nothing where there is nothing". Hidden Truth also wanted to follow, when just ready to raise his feet, he heard a thunderbolt all of a sudden, as if a landslide happened.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 02:48, 21 November 2021 (UTC)

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

士隐大叫一声，定睛看时，只见烈日炎炎，芭蕉冉冉，梦中之事便忘了一半。又见奶母抱了英莲走来。士隐见女儿越发生得粉装玉琢，乖觉可喜，便伸手接来，抱在怀中，斗他玩耍一会。

Hidden Truth cried out, and when he fixed his eyes, only seeing the sun is shining, the weather is bright, and the plantains are flourishing, and then he forgot half of his dream. Later, the lactating mother coming with Pity Zhen in her arms. When Hidden Truth noted that his daughter was becoming more and more beautiful and cute, he reached out and took her in his arms, and teased her for a while.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 02:43, 21 November 2021 (UTC)

Hidden Truth cried out, fixing his eyes on the blazing sun and supplely drooping banana leaves, only to be oblivious to half of his dream. Then the wet nurse came over with Pity Zhen in her arms. Hidden Truth perceived that his daughter became so fair and lovely that he couldn’t wait to cradle her in his arms to amuse her.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 05:48, 21 November 2021 (UTC)

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

又带至街前，看那过会的热闹。方欲进来时，只见从那边来了一僧一道：那僧癞头跣足，那道跛足蓬头，疯疯癫癫，挥霍谈笑而至。及到了他门前，看见士隐抱着英莲，那僧便大哭起来，又向士隐道：“施主，你把这有命无运、累及爹娘之物抱在怀内作甚？”

Hidden Truth then took his lovely daughter out into the street to see the lively meeting. When he was about to enter the door, he saw a monk and a Taoist coming from the other side: the monk had ringworm on his head and no shoes or socks on his feet; the Taoist priest was characterized by lameness and untidy hair. They came over, crazy, talking and laughing. When they got to Hidden Truth’s door, seeing him holding Pity Zhen in his arms. The monk began to cry and said to Hidden Truth, “ Benefactor, why did you cradle such an ill-fated and encumbering child in your arms？”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 01:35, 21 November 2021 (UTC)

Hidden Truth then took his lovely daughter to the street to see the lively agora. When he was about to enter the door, he saw a monk and a Taoist priest coming from the other side: the monk had ringworm on his head and no shoes or socks on his feet; the Taoist priest was characterized by lameness and untidy hair. They acted like a lunatic and came over,talking and laughing. When they got to Shiyin’s door, seeing him holding Pity Zhen in his arms. The monk began to cry and said to Hidden Truth, “ Benefactor, why did you cradle such an ill-fated and encumbering child in your arms？”--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 06:06, 21 November 2021 (UTC)

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

士隐听了，知是疯话，也不睬他。那僧还说：“舍我罢，舍我罢。”士隐不耐烦，便抱着女儿转身。

After listening to him,Hidden Truth knew that it's crazy words and ignored him.But the monk also said:"Give her to me,give her to me." Hidden Truth was impatient,so he held his daughter and turned to leave.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 05:59, 21 November 2021 (UTC)

After listening to him, Hidden Truth knew that it was lunatic ravings and ignored him. But the monk complemented:"Give her to me, give her to me." Hidden Truth got impatient, so he embraced his daughter and turned around. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 12:14, 23 November 2021 (UTC)

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

才要进去，那僧乃指着他大笑，口内念了四句言词，道是：惯养娇生笑你痴，菱花空对雪澌澌。好防佳节元宵后，便是烟消火灭时。

When he was about to get in, the monk pointed at him and laughed, mumbling four sentences, which mean “how crazy that you pamper your daughter like this, (see you embrace Yinglian), just like the summer lotus are exposed to the winter snow. Beware of the days after the Lantern Festival, then there is a fire to vanish everything.”--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 03:03, 21 November 2021 (UTC)
When he wanted to go in, the monk pointed at him and laughed, saying…--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 06:56, 24 November 2021 (UTC)

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

士隐听得明白，心下犹豫，意欲问他来历，只听道人说道：“你我不必同行，就此分手，各干营生去罢。三劫后，我在北邙山等你，会齐了，同往太虚幻境销号。”那僧道：“最妙，最妙。”
Shi Yin understood and hesitated, intending to ask him where he came from. The Taoist said, "You and I don't need to go together. Three days later, I wait for you in north mangshan, meet together, with the imaginary land sales number." The monk said, "The best, the best."--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 06:44, 24 November 2021 (UTC)

Shiyin understood,hesitated in his heart,and wanted to ask him where he came from.He only heard the Taoist say: "You and I don't have to go together, just break up and go to work. After the Three Tribulations, I will wait for you in Beimanshan,nnd go to the Tai Unreal Realm to sell the number." The monk said: "The most wonderful, the most wonderful."--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 13:40, 28 November 2021 (UTC)

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

说毕，二人一去，再不见个踪影了。士隐心中此时自忖：“这两个人必有来历，很该问他一问，如今后悔却已晚了。”这士隐正在痴想，忽见隔壁葫芦庙内寄居的一个穷儒，姓贾名化、表字时飞、别号雨村的走来。

After that,the two went away,and they were nowhere to be seen.Shiyin thought to himself at this moment: "These two people must have a history.It's time to ask him,but now it's too late to regret." Shiyin was thinking about it,but suddenly saw a poor scholar living in the Hulu temple next door whose first name is Jia,last name hua,Courtesy name Shifei,and another name Yucun came.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 13:37, 28 November 2021 (UTC)

After saying that, the two went away, and there was no sign of them anymore. Shiyin thought to himself at this moment: "These two people surely had some backgrounds. I should have asked him, but it was too late to regret now." Shiyin was daydreaming, but suddenly saw a poor scholar living in the Hulu temple next door coming up. His first name is hua, last name is jia, secondary personal name is Shifei, and another name is Rainvillage Merchant.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 14:46, 28 November 2021 (UTC)

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

这贾雨村原系湖州人氏，也是诗书仕宦之族。因他生于末世，父母祖宗根基已尽，人口衰丧，只剩得他一身一口。在家乡无益，因进京求取功名，再整基业。

Rainvillage Merchant was born in Huzhou and came from a family of Confucian scholars and officials. Because he was born in last phase of age, the roots of his ancestors had died out. Family declined, and left him alone. He found no benefit in hometown, so he went to Beijing to strive for fame and tried to make another solid foundation for family.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 03:10, 21 November 2021 (UTC)

Jia Yucun came from Huzhou and was born in a family of scholars and officials. However, because he was born in the last phase of the age, the root of his ancestors had died out and family declined, leaving him alone in the world. He found no benefit in hometown, so he went to Beijing to strive for success and fame and tried to make the revitalization of his family.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 04:46, 21 November 2021 (UTC)

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

自前岁来此，又淹蹇住了，暂寄庙中安身，每日卖文作字为生，故士隐常与他交接。当下雨村见了士隐，忙施礼陪笑道：“老先生倚门伫望，敢街市上有甚新闻么？”士隐笑道：“非也。适因小女啼哭，引他出来作耍。正是无聊的很，贾兄来得正好，请入小斋，彼此俱可消此永昼。”

Since arriving in Beijing the year before last, Jia Yuchun had led a hard life, living only in a temple. He wrote poems and articles in exchange for money every day, so Shiyin often often met with him. Once Yucun saw Shiyin, hurriedly saluted and said with a smile, " Sir, you are leaning on the door and looking at something. Is there any news in the market?" Shiyin smiled and said, "No. Just because my little girl cried, so I took her out to play. I am so bored now and you are so nice to appear in time. Please come into my study with me, so that we can both kill the boring time." --[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 03:35, 21 November 2021 (UTC)

Since arriving in Beijing the year before last, Rainvillage Merchant found himself in difficult conditions and desperate straits. He lived only in a temple and made a living by writing in exchange for money every day, so Hidden Truth often met with him. At that moment, Rainvillage Merchant saw Hidden Truth, hurriedly saluted and said with smile, " An old gentleman as you, leaning on the door and looking at something, I wander that is there any news in the street?" Hidden Truth smiled and said, "Hardly, just because my little girl cried, so I take her out to play. I am so bored now and you‘ve come just at the right moment. Please come into my small studio, so that we can spend the long day together."--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 14:13, 23 November 2021 (UTC)

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

说着，便令人送女儿进去。自携了雨村来至书房中，小童献茶。方谈得三五句话，忽家人飞报：“严老爷来拜。”

While he was talking, he asked someone to take his daughter back to her room. Then he took Rainvillage Merchant to his study, and a child offered a cup of tea for each of them. But just said a few words, suddenly the family member came quickly to say that "Master Yan came to visit."--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 07:30, 23 November 2021 (UTC)

While talking, he asked someone to take his daughter back to her room. Then he took Rainvillage Merchant to his study, and a child offered a cup of tea for each of them. But just said a few words, suddenly the family member came quickly to say that "Master Yan came to visit." --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:01, 24 November 2021 (UTC)

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

士隐慌忙起身谢道：“恕诓驾之罪。且请略坐，弟即来奉陪。”雨村起身也让道：“老先生请便。晚生乃常造之客，稍候何妨！”说着，士隐已出前厅去了。

HiddenTruth stood up hurriedly and said, " Excuse me.Please sit for a moment first, and I will entertain you at once."Rainvillage Merchant also stood up and answered:" Old gentleman, you go. I often come to you here as a guest, wait a little while is not the matter!" Said, Hidden Truth had walked out of the guest room.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 02:51, 21 November 2021 (UTC)

Shiyin hurriedly got up and thanked, "excuse the crime of cheating driving. Please sit down and my brother will accompany you." Yucun got up and said, "please help yourself, sir. My late life is a regular guest. Why not wait a minute!" said Shiyin, who had left the front hall.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 13:44, 22 November 2021 (UTC)

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

这里雨村且翻弄诗籍解闷，忽听得窗外有女子嗽声。雨村遂起身往外一看，原来是一个丫鬟在那里掐花儿：生的仪容不俗，眉目清秀，虽无十分姿色，却也有动人之处。雨村不觉看得呆了。那甄家丫鬟掐了花儿，方欲走时，猛抬头见窗内有人：敝巾旧服，虽是贫窘，然生得腰圆背厚，面阔口方，更兼剑眉星眼，直鼻方腮。
Here in the rain village, I turned to poetry books to relieve my boredom. Suddenly I heard a woman coughing outside the window. Yucun then got up and looked out. It turned out that it was a servant girl pinching flowers there: Sheng's appearance was not vulgar and his eyebrows were beautiful. Although he was not very beautiful, he was also moving. Yucun was stunned. The Zhen servant girl pinched the flowers. When Fang was about to leave, she suddenly looked up and saw someone in the window: Although I was poor and embarrassed, I had a round waist, thick back, wide face and square mouth. I also had sword eyebrows, star eyes, straight nose and square cheeks.

Yuncun was reading poems to relieve his boredom, suddenly hearing a girl outside the window coughing. Yucun stood up and found a housemaid picking flowers: she was of good appearance and pretty features. Although she was not perfect, she had something touching. Yucun felt stunned. The girl had pinched the flowers and was about to leave when she suddenly raised her head and saw someone in the window. In rags, he had a round waist and a thick back, a wide face and a square mouth, with a sword eyebrow and star eyes, a straight nose and a square cheek.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:14, 24 November 2021 (UTC)

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

这丫鬟忙转身回避，心下自想：“这人生的这样雄壮，却又这样褴褛。我家并无这样贫窘亲友，想他定是主人常说的什么贾雨村了。怪道又说他必非久困之人，每每有意帮助周济他，只是没什么机会。”如此一想，不免又回头一两次。雨村见他回头，便以为这女子心中有意于他，遂狂喜不禁，自谓此女子必是个巨眼英豪，风尘中之知己。
The housemaid turned away quickly and said to herself:” the man is so grand and ragged. I don’t have such deprived friends and relatives, thus he must be Rain Village Merchant that the master has mentioned frequently. It’s said that he will not be trapped in poverty for a long time. The master has meant to help him but doesn’t find a proper chance.” At the thought of this, she looked back for several times, which misled Rian Village to think the girl was attracted by him and felt very excited. He believed that the girl must have a pair of wisdom eye and was his true friend in difficulty.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 02:16, 24 November 2021 (UTC)

The housemaid turned away hurriedly and thought to herself:” the man is so strong, but his clothes are shabby. I don’t have such deprived friends and relatives, thus he must be Jia Yucun that the master has mentioned frequently. It’s said that he will not be trapped in poverty for a long time. The master has always meant to help him but doesn’t find a proper chance.” At the thought of this, she looked back for several times, which misled Yu Cun to think the girl was attracted by him and felt very excited. He believed that the girl must have a good taste and was his true friend in difficulty.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 11:27, 24 November 2021 (UTC)

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

一时小童进来，雨村打听得前面留饭，不可久待，遂从夹道中，自便门出去了。士隐待客既散，知雨村已去，便也不去再邀。一日，到了中秋佳节。

When a child came in, Rainvillage heard that the host entertained the guests meal. Therefore, he knew that he couldn't stay long, so he went out through the lane and went out by himself. Later, Hidden Truth had already served guests, knowing that Rainvillage had gone, so he didn't invite again. One day, it was the Mid Autumn Festival.

When a child came in, Rainvillage heard that the host entertained the guests meal. Therefore, he knew that he couldn't stay long, so he went out through the lane and went out by himself. Later, Hidden Truth had already served guests, knowing that Rainvillage had gone, so he didn't invite again. One day, it was the Mid Autumn Festival.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:53, 26 November 2021 (UTC)

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

士隐家宴已毕，又另具一席于书房，自己步至庙中来邀雨村。原来雨村自那日见了甄家丫鬟曾回顾他两次，自谓是个知己，便时刻放在心上。今又正值中秋，不免对月有怀，因而口占五言一律云：

Shiiyin‘s family banquet has been completed, and another seat in the study, he came to the temple to invite Yucun. It turns out that since that day Yucun saw the Zhen family maid had looked back at him twice, since he said he was a confidant, so he always put on his heart. Now it was the mid-autumn festival, so I couldn't help but feel nostalgic for the moon, so I took five words from the mouth and said.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:51, 26 November 2021 (UTC)

Hidden Truth's family banquet has been completed, and another seat in the study, he came to the temple to invite Rainvillage Merchant. It turns out that since that day Yucun saw the Family of Zhen maid had looked back at him twice, since he said he was a confidant, so he always put on his heart. Now it was the mid-autumn festival, so I couldn't help but feel nostalgic for the moon, so I took five words from the mouth and said.--[[User:Xiong Min|Xiong Min]] ([[User talk:Xiong Min|talk]]) 11:23, 29 December 2021 (UTC)

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

未卜三生愿，频添一段愁。闷来时敛额，行去几回头。自顾风前影，谁堪月下俦？蟾光如有意，先上玉人楼。

I haven’t realized my dream yet, but had sorrowful experience. I often frown when I feel depressed and look back repeatedly when I farewell. With the wind blowing, I look at my shadow. Who can be my partner? If the moon helps,please shed light on the girl’s window and show her my love.

I haven’t realized my dream yet, but had sorrowful experience. I often frown when I feel depressed and look back repeatedly when I farewell. With the wind blowing, I look at my shadow. Who can be my partner? If the moon helps,please shed light on the girl’s window and show her my love.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 12:02, 28 November 2021 (UTC)

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

雨村吟罢，因又思及平生抱负，苦未逢时，乃又搔首对天长叹，复高吟一联云：玉在椟中求善价，钗于奁内待时飞。恰值士隐走来听见，笑道：“雨村兄真抱负不凡也！”

After Rainvillage Merchant finished reciting the love poems of Lucky, he thought of his great ambitions and thought that he had not met a good time, so he recited a pair of couplets that he created aloud: "Jade and hairpin are all placed in the box, hoping that one day it can realize its value and play its role." Just when Hidden Truth came to hear it, Shiyin smiled and said, "Brother Rainvillage Merchant is really ambitious!"--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:38, 24 November 2021 (UTC)

After Rainvillage Merchant finished reciting the love poems of Lucky, he thought of his great ambitions and thought that he had not met a good time, so he recited aloud a pair of couplets that he created: "Jade and hairpin are all placed in the box, hoping that one day it can realize its value and play its role." Just when Hidden Truth came to hear it, Shiyin smiled and said, "Rainvillage Merchant is really ambitious!"--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 16:53, 28 November 2021 (UTC)

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

雨村忙笑道：“不敢。不过偶吟前人之句，何期过誉如此！”因问：“老先生何兴至此？”士隐笑道：“今夜中秋，俗谓团圆之节。想尊兄旅寄僧房，不无寂寥之感。故特具小酌，邀兄到敝斋一饮。不知可纳芹意否？”

Rainvillage Merchant laughed and hurriedly said, "No no, I just recite the words of the predecessors. You speak too highly of me!" he asked, "Why did you come here, sir?" Hidden Truth smiled, "Tonight is the reunion time of Mid Autumn Festival. You lodged with a monk's room alone. So I come to invite you to have a drink with me. What do you think?"--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 10:51, 21 November 2021 (UTC)

"Why did you come here, master?"
You are lodged with a monk's room alone. --[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 02:18, 29 December 2021 (UTC)

==颜莉莉 Yán Lìlì 国别女 202120081537==

雨村听了，并不推辞，便笑道：“既蒙谬爱，何敢拂此盛情！”说着，便同士隐复过这边书院中来了。须臾茶毕，早已设下杯盘，那美酒佳肴，自不必说。

Hearing this, Rainvillage Merchant did not refuse, but said with a smile: "Since I am indebted to you, I dare not live up to this feeling." Then he and Hidden Truth came to the academy here. In a moment they had finished their tea, and a feast had already been set up, with wine and food, in which the delicacy was all.

They went to the court in front of Hidden Truth 's study. Soon they had fin rished their tea and sat down to a collation of choice wine and delicacies.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 11:36, 28 November 2021 (UTC)

==颜子涵 Yán Zǐhán 国别女 202120081538==

二人归坐，先是款酌慢饮；渐次谈至兴浓，不觉飞觥献斝起来。当时街坊上家家箫管，户户笙歌；当头一轮明月，飞彩凝辉。二人愈添豪兴，酒到杯干。

At first, they drank slowly,but their spirits rose as they talked and they began to drink more recklessly. At that time, Flutes and strings can be heard everywhere and every family in the neighborhood was singing; When a bright moon rises, The two became more and more cheerful, and the wine dried cup up.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 14:26, 27 November 2021 (UTC)

At first, they drank slowly,but their spirits rose as they talked in depth， they began to drink more recklessly. At that time, the sound of flutes and strings can be heard everywhere and every family in the neighborhood was playing and singing; When a bright moon rises, The two became more and more cheerful and drained cup after cup.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 11:39, 28 November 2021 (UTC)

==阳佳颖 Yáng Jiāyǐng 国别女 202120081540==

雨村此时已有七八分酒意，狂兴不禁，乃对月寓怀，口占一绝云：时逢三五便团圆，满把清光护玉栏。天上一轮才捧出，人间万姓仰头看。士隐听了，大叫：“妙极！弟每谓兄必非久居人下者，今所吟之句，飞腾之兆已现，不日可接履于云霄之上了。可贺，可贺！”

Rainvillage Merchant, eight-tenths drunk, cannot suppress his high spirits. As he gazed at the moon, he fostered thoughts, to which he gave vent by the recital of a double couplet.

"On the fifteenth the moon is full, Her pure rays fill the court; As her bright orb sails up the sky, All men on earth gaze upwards at the sight."

"Excellent!" cried Hidden Truth with a loud voice, after he had heard these lines; "I have repeatedly maintained that it was impossible for you to remain in a subordinate position for a long period, and now the verses are a prognostic of your rapid advancement. In a few days you will extend your footsteps far above the clouds! Let me congratulate you."！

Rainvillage Merchant, eight-tenths drunk, cannot suppress his elation. As he gazed at the moon, he improvised a poetry to the moon and declaimed it:

"On the fifteenth the moon is full, Her pure rays fill the court; As her bright orb sails up the sky, All men on earth gaze upwards at the sight."

"Excellent!" cried Hidden Truth with a loud voice, after he had heard these lines; "I have repeatedly maintained that it was impossible for you to remain in a subordinate position for a long period, and now the verses reveals your rapid advancement. In a few days you will extend your footsteps far above the clouds! Let me congratulate you."！--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 04:36, 28 November 2021 (UTC)

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

乃亲斟一斗为贺。雨村饮干，忽叹道：“非晚生酒后狂言，若论时尚之学，晚生也或可去充数挂名。只是如今行李路费，一概无措，神京路远，非赖卖字撰文，即能到得。”士隐不待说完，便道：“兄何不早言？弟已久有此意，但每遇兄时，并未谈及，故未敢唐突。今既如此，弟虽不才，‘义利’二字，却还识得。且喜明岁正当大比，兄宜作速入都，春闱一捷，方不负兄之所学。其盘费馀事，弟自代为处置，亦不枉兄之谬识矣。”

Hidden Truth filled another large cup of alcohol. Rainvillage Merchant tossed it off and then signed. "Don't think this is just a talk after being drunk," he said, "I'm sure I could acquit myself quite creditably in the examinations, but I have no money in my wallet for my travelling expenses and the capital is far away. I can't raise enough money by selling my words and articles ...." "Why didn't you say so before?" interjected Shiyin. "I've always thought about this, but since you never mentioned it it is inappropriate for me to mention this subject. If that's how things are, dull as I am at least I know what's due to a firend. Luckily the Metropolitan Examinations are coming up next year. You must go as fast as you can to the capital and prove your learning in the Spring Test. I shall take it an honor to take care of the travelling expenses and other business for you."--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 04:28, 28 November 2021 (UTC)

Hidden Truth filled another large cup of alcohol for congratulation. Rainvillage Merchant tossed it off and then sighed: "Don't think this is just a talk after drinking. I'm sure I could acquit myself quite creditably in the examinations, but I have no money in my wallet for my travelling expenses and the capital is far away. I can't raise enough money only by selling my words and articles ...." "Why didn't you say that before?" interjected Hidden Truth. "I've always thought about this, but since you never mentioned it.It is inappropriate for me to mention this subject. If that's how things are, dull as I am at least I know what's due to a real friend. Luckily the Metropolitan Examinations are coming up next year. You must go as fast as you can to the capital and prove your learning in the Spring Test. I shall take it an honor to take care of the travelling expenses and other business for you."--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 11:43, 28 November 2021 (UTC)

==杨堃 Yáng Kūn 法语语言文学女 202120081542==

当下即命小童进去，速封五十两白银并两套冬衣。又云：“十九日乃黄道之期，兄可即买舟西上。待雄飞高举，明冬再晤，岂非大快之事！”雨村收了银、衣，不过略谢一语，并不介意，仍是吃酒谈笑。

Hidden Truth immediately ordered the child to go in and quickly seal fifty liang silver and two sets of winter clothes. And he also said, "the 19th of March is the time of the zodiac, and you can buy a boat to the west. Isn't it a great pleasure to wait for triumph of the war[1] and meet again the next winter?" Rainvillage Merchant received the silver and clothes, but he thanked Hidden Truth a little. He didn't mind and was still drinking wine, talking and laughing.

[1]The war between Li Zicheng and the emperor Chongzhen. On March 19 of the lunar calendar in 1644, Emperor Chongzhen of the Ming Dynasty hanged himself. Then, Li Zicheng entered Beijing to overthrow the Ming Dynasty.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:23, 21 November 2021 (UTC)

Shiyin immediately ordered the child in and seal fifty liang silver and two suits of winter clothes quickly. Then he said, "the 19th of March is favorable time, and you can buy a boat to the west. Isn't it a great pleasure to wait for triumph of the war[1] and meet again the next winter?" Yucun received the silver and clothes, but he thanked Shiyin a little. He didn't mind and was still drinking wine, talking and laughing.

[1]The war between Li Zicheng and the emperor Chongzhen. On March 19 of the lunar calendar in 1644, Emperor Chongzhen of the Ming Dynasty hanged himself. Then, Li Zicheng entered Beijing to overthrow the Ming Dynasty.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 12:15, 23 November 2021 (UTC)

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

那天已交三鼓，二人方散。士隐送雨村去后，回房一觉，直至红日三竿方醒。因思昨夜之事，意欲写荐书两封与雨村，带至都中去，使雨村投谒个仕宦之家，为寄身之地。

Jia Yunchun and Zhen Shiyin drank until midnight and then dispersed. Zhen Shiyin sent Jia Yuchun bedchamber and went back his room to sleep. He didn't wake up until the late morning. Considering Zhen Shiyin's bad conditions, Zhen Shiyin intended to write two recommendation letters for Jia Yuchun, so Jia Yuchun could take and deliver it to a family of dignities in Qi Zhou city to find a place to stay.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 06:10, 25 November 2021 (UTC)

These two friends drank until midnight and then left. Zhen Shiyin sent Jia Yuchun back to his bedchamber and headed back to sleep. He didn't wake up until the noon time. Zhen Shiyin intended to write two recommendation letters for Jia Yuchun considering his bad condition, so Jia Yuchun could take and deliver it to some family of dignities in Qi Zhou city to find a fine place to settle.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 05:11, 29 November 2021 (UTC)

==叶维杰 Yè Wéijié 国别男 202120081544==

因使人过去请时，那家人回来说：“和尚说：贾爷今日五鼓已进京去了，也曾留下话与和尚转达老爷，说：‘读书人不在黄道黑道，总以事理为要，不及面辞了。’”士隐听了，也只得罢了。真是闲处光阴易过，倏忽又是元宵佳节。

The family came back and said, “The monk said: The Five Drums of Master Jia has entered Beijing today, and he also left a message with the monk to convey to the master, saying:'The scholar is not in the zodiacal and underworld, and he always takes affair as the priority. , It's too late to resign.'" Shiyin listened and had no choice but to leave. It's really easy to spend leisure time, and suddenly it is the Lantern Festival.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 13:21, 28 November 2021 (UTC)

When the family came back, they said, "The monk said that Master Merchant had gone to the capital between three and five o'clock today, and had left a message for the monk to convey to you, saying, 'No matter what the background of a scholar is, it is always important to take care of things, so it is too late to say goodbye.'" When Hidden Truth heard this, he had no choice but to do nothing. It was easy to spend time at leisure, and suddenly it was the Lantern Festival again.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 13:36, 28 November 2021 (UTC)Yi Yangfan

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

士隐令家人霍启抱了英莲，去看社火花灯。半夜中霍启因要小解，便将英莲放在一家门槛上坐着。待他小解完了来抱时，那有英莲的踪影。

Zhen Shiyin asked his family member Huo Qi to carry Yinglian and go to see the lanterns. In the middle of the night, Huo Qi had to take a piss, so he left Yinglian sitting on the threshold of a door. When he came to carry her after taking a piss, there was no sign of Yinglian.

Hidden Truth asked his family member trouble beginner to carry Pity Zhen and go to see the lanterns. In the middle of the night, trouble beginner left Pity Zhen alone sitting on the threshold of a door because of the urgency of urinating. When he came back, Pity Zhen disappeared.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 09:11, 27 November 2021 (UTC)

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

急的霍启直寻了半夜，至天明不见。那霍启也不敢回来见主人，便逃往他乡去了。那士隐夫妇见女儿一夜不归，便知有些不好。再使几人去找寻，回来皆云影响全无。

Huo Qi was so anxious that he looked for her all night and did not find her by dawn. So he did not dare to return to meet the host and he fled to his hometown. Mr. and Mrs. Shi Yin felt something is about to go wrong when they found their daughter didn't go home all night. They sent more people to look for her, but when they came back they said they didn't have any trace of her.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 14:22, 21 November 2021 (UTC)

Being so anxious, Huo Qi looked for her all night but in vain till dawn. Dare not to return to his master, he fled to another place. Mr. and Mrs. Shi Yin felt something wrong when their daughter didn't go home all night. More people were sent to look for her, but only to find no trace of her.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 14:11, 22 November 2021 (UTC)

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

夫妻二人半世只生此女，一旦失去，何等烦恼，因此昼夜啼哭，几乎不顾性命。看看一月，士隐已先得病，夫人封氏也因思女搆疾，日日请医问卦。不想这日三月十五，葫芦庙中炸供，那和尚不小心，油锅火逸，便烧着窗纸。

The couple, having spent half of their lifetime, couldn't bear the thought of losing their only child. They wept day and night, almost risking their lives. In January, Shi Yin was already sick, and his wife Feng shi also fell ill for missing her daughter excessively and had to see doctors and fortunetellers everyday. Unfortunately, on March 15, when frying tributes in the calabash Temple, the careless monk let the fire escape from the oil boiler, which set the window paper on fire.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 14:57, 22 November 2021 (UTC)

The couple, having spent half of their lifetime, couldn't bear the annoyance of losing their only daughter. They wept all days and nights, almost risking their lives. In January, Hidden Truth was already sick, and his wife Feng also got ill for missing her daughter excessively and had to call the doctors and fortunetellers everyday. Unfortunately, on March 15, when frying tributes in the calabash Temple, the careless monk let the fire escape from the oil boiler, which set the window paper on fire.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 12:11, 28 November 2021 (UTC)

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

此方人家俱用竹篱木壁，也是劫数应当如此，于是接二连三，牵五挂四，将一条街烧得如火焰山一般。彼时虽有军民来救，那火已成了势了，如何救得下，直烧了一夜方熄，也不知烧了多少人家。只可怜甄家在隔壁，早成了一堆瓦砾场了，只有他夫妇并几个家人的性命不曾伤了，急的士隐惟跌足长叹而已。

This family deserves this fate for using bamboos and wood as hedge. One by one, the whole street burnt like the Mountain of Flames. At that time, though the army and people came for rescue, the fire had already been too large to put out. It didn't burn until the morning. It cannot be estimated that how many houses had been destroyed. Poor Hiden Truth's house next door had turned into a pile of rubble, only the couple and the families unhurt, which made Hidden Truth anxious and sigh deeply.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 14:44, 22 November 2021 (UTC)

This family deserved this fate for using bamboos and wood as hedge. One house by one house, the whole street burnt like the Mountain of Flames. At that time, though the army and people came for rescue, the fire had already been too large to put out. It didn't burn until the morning. It cannot be estimated that how many houses had been destroyed. The fire had turned Poor Zhen's house next door into a pile of rubble, only the couple and several families unhurt, which made Zhen Shiyin anxious and sigh deeply.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 10:47, 24 November 2021 (UTC)

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

与妻子商议，且到田庄上去住。偏值近年水旱不收，贼盗蜂起，官兵剿捕，田庄上又难以安身。只得将田地都折变了，携了妻子与两个丫鬟，投他岳丈家去。

He discussed with his wife, and went to live on the farm. However, in recent years, harvests have been ruined by flood and drought, and thieves and robbers have been rising. It was difficult to settle down on the farm. He had to sell his lands at a discount and took his wife and two maids to seek his father-in-law's help.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 10:42, 24 November 2021 (UTC)
Take counsel with his wife, and come to live at the Grange. Partial value in recent years flood and drought do not harvest, thieves bee, officers and soldiers suppression, the grange and difficult to live. He had to change the land and went to his husband's house with his wife and two maids.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 12:22, 28 November 2021 (UTC)

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

他岳丈名唤封肃，本贯大如州人氏，虽是务农，家中却还殷实。今见女婿这等狼狈而来，心中便有些不乐。幸而士隐还有折变田产的银子在身边，拿出来托他随便置买些房地，以为后日衣食之计。

His father-in-law's name was Feng Su. His native place was Such State. Although he was a farmer, his family was well off. Now, seeing her son-in-law come in such a discomfiture, I felt unhappy. Fortunately, there are hidden converted field of silver in the side, took out to entrust him to buy some premises, that the day after the means of food and clothing.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 10:19, 21 November 2021 (UTC)

His father-in-law's name was Feng Su, who was originally from Daru State. Although he was a farmer, his family was well off. Now, seeing his son-in-law come in such a discomfiture, he felt unpleasant inside. Fortunately, there are hidden silver of converted field by his side, so he took it out to entrust him to purchase some premises for buying food and clothing in the future.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 11:40, 28 November 2021 (UTC)

==张扬 Zhāng Yáng 国别男 202120081551==

那封肃便半用半赚的，略与他些薄田破屋。士隐乃读书之人，不惯生理稼穑等事，勉强支持了一二年，越发穷了。封肃见面时，便说些现成话儿；且人前人后，又怨他不会过，只一味好吃懒做。

Feng Su made money while using some of it, and provided small fields and a shabby house with him. Shi Yin was a scholar and was not used to farming and other handworks. He reluctantly struggled for a year or two and became poorer and poorer. When Feng Su met him, he said something ready-made. But behind Shiyin's back, he complained that he couldn't live his life well by just being lazy.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 11:34, 28 November 2021 (UTC)

Feng Su made money while using some of it, and provided small fields and a shabby house with him. Hidden Truth was a scholar and was not used to farming and other handworks. He reluctantly struggled for a year or two and became poorer and poorer. When Feng Su met him, he said something ready-made. But behind Shiyin's back, he complained that he couldn't live his life well by just being lazy.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 12:15, 28 November 2021 (UTC)

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

士隐知道了，心中未免悔恨；再兼上年惊唬，急忿怨痛：暮年之人，那禁得贫病交攻，竟渐渐的露出那下世的光景来。可巧这日拄了拐，扎挣到街前散散心时，忽见那边来了一个跛足道人，疯狂落拓，麻鞋鹑衣，口内念着几句言词道：

When Hidden Truth found out about this, he felt remorse in his heart; he was also frightened of the previous year, and he felt angry and resentful: a man in his twilight years, who could not help being attacked by poverty and illness, was gradually revealing the scene of his next life. It happened that when he was on crutches, he went to the street for a walk, and suddenly he saw a crippled Taoist, crazy and untidy, with sackcloth shoes and quails, reciting a few words under his breath.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 02:26, 22 November 2021 (UTC)

When Hidden Truth found out this, he felt remorse in his heart; he was also frightened of the previous year, angry and resentful: a man in his twilight， who could not be able to be attacked by poverty and illness, was gradually revealing the scene of his next life. It happened that when he was on crutches, he went to the street for a walk, and suddenly he saw a crippled Taoist, crazy and untidy, with ragged shoes and clothes，reciting a few words under his breath.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 07:00, 22 November 2021 (UTC)

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

世人都晓神仙好，惟有功名忘不了。古今将相在何方？荒冢一堆草没了。世人都晓神仙好，只有金银忘不了。终朝只恨聚无多，及到多时眼闭了。

The common people know that immortals are good, but they can't forget their achievements and fame. Where are the generals and prime ministers from ancient times to the present？What we can see are just deserted graves full of grass. The common people know that immortals are good, but they can‘t forget gold and silver. Till the end of life，they would regret their inability to create as much wealth as possible when they are alive and regret they are going to the heaven after they have accumulated plenty of wealth.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 02:42, 21 November 2021 (UTC)

All the common people know that immortals are good, but they can't forget their achievements and ambitions. Where are the great ones of old？They are just deserted graves full of grass. All the common people know that immortals are good, but they can‘t forget gold and silver. They grub for money all their lives until death seals up their eyes.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 07:24, 21 November 2021 (UTC)

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

世人都晓神仙好，只有姣妻忘不了。君生日日说恩情，君死又随人去了。世人都晓神仙好，只有儿孙忘不了。痴心父母古来多，孝顺子孙谁见了？

All men want to be immortals, but dote on the wives they’ve married. Those who swear to love their husband forever, but remarry as soon as he’s dead. All men want to be immortals, but dote on the sons they’ve gotten. Although infatuated parents are numerous, who ever saw really filial sons or daughters?--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 02:05, 21 November 2021 (UTC)

Everyone in the world knows that the gods are good, but only the pretty wife can't forget. You swear to remember your husband’s kindness, but when your husband die, you go away with others. Everyone knows that the gods are good, but only the children and grandchildren cannot be forgotten. There are many loving parents in the past, but who has seen the filial children?--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 09:04, 22 November 2021 (UTC)

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

士隐听了，便迎上来道：“你满口说些什么？只听见些‘好’、‘了’，‘好’、‘了’。”那道人笑道：“你若果听见‘好’、‘了’二字，还算你明白。可知世上万般，好便是了，了便是好：若不了，便不好；若要好，须是了。我这歌儿便叫《好了歌》。
When the hermit heard it, he came up and said, "What are you talking about ?" I just hear 'Hao’ (means good), 'Liao' (means end) 'Hao’, ‘Liao'. The man laughed, "If you hear the words 'Hao' and 'Liao', you understand it. In this world, good is end, and the end is good. If there is no end, there is no good, and vice versa. My song is called ‘The Song of ‘Hao’ and ‘ Liao’. ”--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 08:54, 22 November 2021 (UTC)

Hidden Truth came over after heard this and said: “ What are you talking about? I just hear the words ‘good’ and ‘end’.” That man laughed, “ You heard the words ‘good’ and ‘end’, that means you got a few things going for you. In this world, good is end, and end is good. If there is no end, there is no good, and vice versa. My song is called ''All Dood Things Must End''.”--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 12:19, 22 November 2021 (UTC)

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

士隐本是有夙慧的，一闻此言，心中早已悟彻，因笑道：“且住，待我将你这《好了歌》注解出来何如？”道人笑道：“你就请解。”士隐乃说道：陋室空堂，当年笏满床。

So intelligent, Hidden Truth understood the essence of the song entirely in his head as soon as he heard it, and said: “ Wait a minute. How about I explain your song ''All Good Things Must End'' ？” The Taoist priest said, laughing : “ Would you please explain.” Hidden Truth then explain: “ The empty and dilapidated rattraps we see today, were the grand mansions full of beds and boards used by dignitaries at that time.”--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 08:01, 22 November 2021 (UTC)

So intelligent as Hidden Truth is, he understood the essence of the song entirely in his head as soon as once hearing it, and said: “ Wait a minute. How about I explain your song ''All Good Things Must End'' ？” The Taoist priest said, laughing : “ Would you please explain.” Hidden Truth then explain: “ The empty and dilapidated rattraps we see today, were the grand mansions full of boards used by courtiers at that time.”--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:23, 23 November 2021 (UTC)

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

衰草枯杨，曾为歌舞场。蛛丝儿结满雕梁，绿纱今又在蓬窗上。说甚么脂正浓，粉正香，如何两鬓又成霜？
Humble hovels and abandoned halls where courtiers once paid daily calls；Bleak places where weeds and trees scarcely thrive
were once with a show of peace and prosperity．When cobwebs cover the mansion’s gilded beams，and collage casement with choice muslin gleams．Would you of perfumed elegance recite? Even as you speak, the raven locks turn white．--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:06, 23 November 2021 (UTC)

Withered grass and withered poplar, This used to be a place where people sang and danced. The spider silk is full of carved beams, but the green gauze is on the simple window. The fat is thick and the powder is fragrant, how the temples become the color of frost?--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 15:20, 25 November 2021 (UTC)

==周清 Zhōu Qīng 法语语言文学女 202120081558==

昨日黄土陇头埋白骨，今宵红绡帐底卧鸳鸯。金满箱，银满箱，转眼乞丐人皆谤。正叹他人命不长，那知自己归来丧。

Yesterday the bones were buried in the loess, and the mandarin ducks(allusions to couples) lie under the red silk tent tonight. Boxes full of gold, boxes full of silver, everyone yelled and insulted beggars in a blink of an eye. I'm sighing that the lives of others are not long, and I know I'm back to be mourned.

Yesterday the bones were buried in the loess, then tonight it is the time for a newly married couple to sleep behind bed curtains with burning red candle lights.Boxes full of gold, boxes full of silver, everyone yelled and insulted beggars in a blink of an eye. I'm sighed that the lives of others are not long, but failed to predict my own future after return from the funeral.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 11:36, 28 November 2021 (UTC)

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

训有方，保不定日后作强梁；择膏粱，谁承望流落在烟花巷。因嫌纱帽小，致使锁枷扛；昨怜破袄寒，今嫌紫蟒长。乱烘烘，你方唱罢我登场，反认他乡是故乡。

Though she was well educated according to her parent's plan, one can become a bandit later. She tried her best to marry into a rich family. However, she ended up in a (red-light)? district beyond everyone's expectation. People who are not satisfied with their positions have to spend the rest of their life in a prison in chains. People who used to be very poor and used worn coats to resist the cold were not satisfied with fancy clothes after they became rich. I come on the stage as soon as you have finished your singing in a chaotic manner. Taking other's hometown as my own. --[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 11:42, 22 November 2021 (UTC)--[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 16:56, 23 November 2021 (UTC)

If properly educated under parents' guidance, one can probabaly become a bandit later. Although trying her best to marry a rich man, she ends up with a driftage in the red-light district beyond everyone's expectation. People's unsatisfication with their positions leads to their miserable life in prison with chains on their bodies. People who used to be very poor and used worn coats to resist the cold were not satisfied with gorgeous clothes any more when they became rich. In noisy disorder, you just finished and I come on the scene.Instead, taking other's hometown as my own.--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 15:17, 25 November 2021 (UTC)

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

甚荒唐，到头来，都是为他人作嫁衣裳。那疯跛道人听了，拍掌大笑道：“解得切，解得切！”士隐便说一声：“走罢。”

It's so ridiculous. In the end, they made wedding clothes for others. Hearing this, the crazy lame Taoist clapped his hands and laughed, saying "All right, all right !" Then Shiyin said, "let's go."

It's ridiculous. In the end, they make wedding clothes for others. The crazy lame Taoist listened, clapped his hands and laughed and said, "it's right, it's right!" Shiyin said, "let's go."--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 11:43, 21 November 2021 (UTC)

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

将道人肩上的搭裢抢过来背上，竟不回家，同着疯道人飘飘而去。当下哄动街坊，众人当作一件新闻传说。封氏闻知此信，哭个死去活来。

He grabbed the lap on the Taoist's shoulder and carried it on his back. He didn't go home and floated away with the crazy Taoist. At that moment, the neighborhood was stirred up and everyone regarded it as a news legend. When Feng heard this letter, he cried to death.--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 11:34, 21 November 2021 (UTC)

==Nadia 202011080004==

只得与父亲商议，遣人各处访寻，那讨音信。

==Mahzad Heydarian 玛莎 202021080004==

无奈何，只得依靠着他父母度日。

He was so helpless that he had to rely on his parents to survive.

==Mariam toure 2020GBJ002301==

幸而身边还有两个旧日的丫鬟伏侍，主仆三人，日夜作些针线，帮着父亲用度。

==Rouabah Soumaya 202121080001==

那封肃虽然每日抱怨，也无可奈何了。
Although Feng Su complained every day, he was helpless

==Muhammad Numan 202121080002==

这日那甄家的大丫鬟在门前买线，忽听得街上喝道之声。
The other day, the eldest maid of the Chen family was buying thread at the door when she heard a shout from the street.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 14:50, 23 November 2021 (UTC)

==Atta Ur Rahman 202121080003==

众人都说：“新太爷到任了。”
Everyone said: "The new grandfather has arrived"

==Muhammad Saqib Mehran 202121080004==

丫鬟隐在门内看时，只见军牢、快手一对一对过去，俄而大轿内抬着一个乌帽猩袍的官府来了。
When the maid concealed in the door, she saw the military jail and quick hands passing one by one, and the official mansion carrying a black hat and ape robe came in the big sedan chair.

==Zohaib Chand 202121080005==

那丫鬟倒发了个怔，自思：“这官儿好面善，倒像在那里见过的。”

<nowiki>Insert non-formatted text here</nowiki>
The maid was startled, and thought to herself: "This official is so good-natured, but it looks like someone I've seen there."

==Jawad Ahmad 202121080006==

于是进入房中，也就丢过，不在心上。

Then she went into the room and laid the matter aside ，without taking it to heart.

==Nizam Uddin 202121080007==

至晚间正待歇息之时，忽听一片声打的门响，许多人乱嚷，说：“本县太爷的差人来传人问话！”

English:
When I was about to rest in the evening, I heard a bang on the door suddenly, and many people shouted in disorder, saying, "The county's grandfather's messenger is here for questioning!"

==Öncü 202121080008==

封肃听了，唬得目瞪口呆。

Fengsu hear it,he gaped in consternation --[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 13:28, 22 November 2021 (UTC)

==Akira Jantarat 202121080009==

不知有何祸事，且听下回分解。

Don't know something calamity happened, will describe in the ensuing chapter.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 06:36, 21 November 2021 (UTC)

If you don't know what calamity took place, listen to the break down given in the next chapter.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 12:54, 21 November 2021 (UTC)

==Benjamin Wellsand 202111080118==

通灵──“通灵宝玉”的简称。Psychic--short for ''Psychic Treasure.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 12:48, 21 November 2021 (UTC)

Psychic -- the abbreviation for "Psychic Treasure". --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 03:35, 24 November 2021 (UTC)

==Asep Budiman 202111080020==

亦即下文所说女娲炼石补天所剩的那块“顽石”，因其历经锻炼而“灵性已通”，并能幻化为贾宝玉，故称。

That is to say, the "stubborn stone" left by Nüwa's refining stone to replenish the sky. As it has undergone training, it has "spiritual achievement" and can be transformed into Jia Baoyu, so it is called. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 03:48, 24 November 2021 (UTC)

That is to say, the "stubborn stone" left by Nüwa's refining stone to replenish the sky, because it has undergone training, has "spiritually achieved" and can be transformed into Jia Baoyu, so it is called.--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 06:10, 24 November 2021 (UTC)Ei Mon Kyaw

==Ei Mon Kyaw 202111080021==

《石头记》──此书的本名。
"Story of the Stone" - the original name of the book. --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 06:26, 24 November 2021 (UTC)Ei Mon Kyaw

20211124 homework

2021-12-30T04:51:48Z

Wei Zhaoyan: /* 魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学）女 202120081528 */

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

==陈静 Chén Jìng 国别女 202020080595==

我很纳闷：《不自弃文》是篇名，《姬子》是书名，应该同等对待，要么都予注释，要么都不注释，为什么一注一不注呢？难道前者生僻而需要注释，后者人所共知而不必注释吗？显然不是，只能说是避难就易，这与注释的宗旨完全背道而驰。
I wonder that since No Self-surrender is the title of the passage and Jizi is the title of the book, which should be treated equally, why did the situation happened that one annotated while one did not? Did the former need to be annotated while the latter is known to all without having to be annotated? Obviously, it is for choosing the easier way, which is completely contrary to the purpose of the annotation.

I wonder: "don't abandon yourself" is the title, and "Ji Zi" is the title of the book. It should be treated equally, either annotated or not annotated. Why not annotate one note at a time? Is it true that the former is remote and needs annotation, while the latter is well known and does not need annotation? Obviously not, it can only be said that it is easy to avoid difficulties, which is completely contrary to the purpose of the notes.

--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 07:01, 24 November 2021 (UTC)

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

那怕注为“《姬子》不详”，也还不失为态度诚实。老实说，起初我对《姬子》也一头雾水，因为见所未见，闻所未闻。但根据我自定的注释原则，我不能回避。

Even if it is noted as "Ji Zi" unknown ", it can be regarded as an honest attitude. To be honest, at first I was confused about Ji Zi, because I had never seen or heard of it. But according to my own annotation principle, I can't avoid it.
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 11:20, 21 November 2021 (UTC)

Even if it is noted as "unknown Ji Zi" , it can still be regarded as an honest attitude. To be honest, at first I was confused about ''Ji Zi'', because I had never seen or heard of it. But according to my own annotation principle, I can't avoid it.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 14:36, 22 November 2021 (UTC)Chen Huini

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

于是我首先求助于《中国古典数字工程》，肯定了中国根本不存在《姬子》这么一本书，完全是曹雪芹所杜撰，正如《古今人物通考》、《中国历代文选》都是曹雪芹杜撰一样。其次，我记得俞平伯先生有一篇专门解释《姬子》的文章，但文章的题目、发表时间以及文章内容却不记得了。经过两天的翻箱倒柜，我终于找到了这篇文章，它的题目是《读〈红楼梦〉随笔》第九节《姬子》，初载于《文汇报》1954年1月25日；又收入《红楼梦研究参考资料选辑》第二辑，人民文学出版社1973年11月出版。

Therefore, I first made reference htiw "Chinese Classical Digital Engineering" and confirmed that there was no such a book called "Ji Zi" in China, which was completely written by Cao Xueqin, just as Cao Xueqin wrote "General Examination of Ancient and Modern Characters" and "Selected Chinese Writings in Past Dynasties". Secondly, I remember that Mr. Yu Pingbo had a special article explaining ''JiZi'', but I do not remember the title, publication time and content of the article. After two days of searching, I finally found this article. Its title is ''Ji Zi'', section 9 of Essays on Reading ''A Dream of Red Mansion''. It was first published in Wenhui Daily on January 25, 1954. It was also included in the second series of ''Selected Research Reference Materials on A Dream of Red Mansion'', published by People's Literature Publishing House in November 1973.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 14:46, 22 November 2021 (UTC)Chen Huini

So, I firstly searched ''Chinese Classical Digital Engineering'' and confirmed there was no such a book called "Ji Zi" in China. This book was completely made up by Cao Xueqin like the same thing he did to ''General Examination of Ancient and Modern Characters'' and ''Selected Chinese Writings in Past Dynasties''.Then, I recalled that Mr. Yu Pingbo especially wrote an article to explain ''Ji Zi'', but I didn't remember the title, publication time and content.After two days of searching, I finally found it. The title of it was ''Ji Zi'', section 9 of Essays on Reading ''A Dream of Red Mansion'' which was first published in Wenhui Daily on January 25, 1954. and then was included in the second series of ''Selected Research Reference Materials on A Dream of Red Mansion'', published by People's Literature Publishing House in November 1973.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 00:20, 24 November 2021 (UTC)

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

据俞先生在文章中说：姬子书到底是部什么书呢，谁也说不上来。特别前些日子把这一回书选为高中国文的教材，教员讲解时碰到问题，每来信相询，我亦不能对。但经过研究，他还是写了这篇文章，作为回答。

According to Mr.Yu in his article: nobody can tell what book ''Ji Zi'' really is. Moreover, this chapter of ''A Dream in Red Mansions'' with the name ''Ji Zhi'' has been selected as the reading material of the high school,and I can't say anything when the teacher who failed to explain it in the classroom come to me.But after careful research, he still write an article to reply this question.

According to Mr. Yu in his article: nobody can tell what book ''Ji Zi'' really is. In particular, this chapter was selected as a reading material for the Chinese language in high school some days ago, the teachers encountered problems when explaining it, and they wrote to me every time to ask about it, but I couldn't get it right. But after researching, he wrote this article as an answer.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:37, 23 November 2021 (UTC)

==陈心怡 Chén Xīnyí 翻译学女 202120081481==

他的结论有三点：其一，《姬子》是“作者杜撰”，并以第三回的《古今人物通考》也是杜撰而作为佐证。其二，“这原来是一个笑话”，是探春“拿姬子来抵制”宝钗用以压人的朱子和孔子，而“比朱子孔子再大，只好是姬子了。殆以周公姓姬，作为顽笑”。

There are three points in his conclusion: one, ''Ji Zi'' is "the author fabricated", and to the third round of " the general examination of ancient and modern characters" is also fabricated and as proof. Second, "this turns out to be a joke", is Tanchun " take ''Ji Zi'' to resist" Baochai and used to press people by citing Zhu Zi and Confucius, and "higher level than Zhu Zi and Confucius can only be ''Ji Zi''. Probably Zhou Gong was surnamed Ji as a joke.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:35, 23 November 2021 (UTC)
There are three points in his conclusion: first, ''Ji Zi'' is "fabricated by the author", and can be proved by the fabrication of the third round of " the general examination of ancient and modern characters". Second, "this turns out to be a joke", which Tanchun " held ''Ji Zi'' to resist” Baochai who used to press her by citing Zhu Zi and Confucius, but “requiring higher level than Zhu Zi and Confucius, there’s only be ''Ji Zi''. Probably Zhou Gong was surnamed Ji as a joke.”--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 12:25, 23 November 2021 (UTC)

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

其三，“有人或者要问为什么净瞎捣乱，造书名？我回答：这是小说。”《中国古典数字工程》可以证明俞先生的“杜撰说”是正确的，因此我把俞先生的意见用以注释《姬子》。
Thirdly, "Someone may ask why messing around and making a title? I replied: This is a novel. "It can be proved by ''The Chinese Classical Digital Engineering'' that Mr. Yu’s “theory of fabrication” is correct. Therefore, I applied Mr. Gong's opinion to annotate ''Jizi''.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 04:56, 23 November 2021 (UTC)

Thirdly, "Someone may ask why to mess around and make a title? I replied: This is a novel. "It can be proved by ''The Chinese Classical Digital Engineering'' that Mr. Yu’s ''Theory of Fabrication'' is correct. Therefore, I applied Mr. Gong's opinion to annotate ''Ji Tzu''.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 11:01, 26 November 2021 (UTC)

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

据我所知，现在有人搜集了周公的几篇佚文，将其编为集子，按照《老子》、《庄子》、《孟子》之类的惯例，即命名为《姬子》，但这与曹雪芹毫不相干，《红楼梦》中的《姬子》书名绝对是杜撰。此外，有的注本虽然对《不自弃文》作了注释，却只是简述该文的大意，而没有注出曹雪芹的深刻用意。原来朱熹的徒子徒孙认为此文格调低下，有失朱夫子的身份，故将此文排除在众多朱熹文集之外，只有明·朱培编《文公大全集补遗》卷八从抄本《朱熹家谱》中引录，另有《朱子文集大全类编·卷二一·庭训》亦予收录。

As far as I know, someone collected several lost articles of Duke of Zhou, edited them into an anthology and named it ''Ji Tzu'' according to the routine of ''Lao Tzu'', ''Chang Tzu'' and ''Mencius'' and so on. However, this thing is irrelevant to Cao Xueqin, so the title of ''Ji Tzu'' in ''A Dream in Red Mansions'' is absolutely fabricated. Besides, although some books with annotations made interpretation to ''No Self-surrender'', they just told the main idea of this article rather than annotating the deep meaning made by Cao Xueqin. In fact, disciples and followers of Zhu Xi thought the style of this passage beneath his dignity is very low, so they excluded it out of many anthologies of Zhu Xi. Only when Zhu Pei(Ming dynasty) edited the eighth roll of ''Supplement to Collected Works of Duke Wen'', he incited it from transcript of ''Zhu Xi’s Genealogy''. In addition, it is also included in ''Complete Works of Zhu Tzua•Roll Twenty-one•Home Hearing''.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 03:47, 21 November 2021 (UTC)

As far as I know, now someone collected several lost articles of Duke of Zhou and edited them into a collection that was named ''Ji Tzu'' according to the routine of ''Lao Tzu'', ''Chang Tzu'' and ''Mencius'' and so on. However, this thing is irrelevant to Cao Xueqin, so the title of ''Ji Tzu'' in ''A Dream in Red Mansions'' is absolutely fabricated. Besides, although some books with annotations made interpretations to ''No Self-surrender'', they just briefly described the main idea of this article rather than annotating the deep meaning of Cao Xueqin. In fact, disciples and followers of Zhu Xi thought this passage was low in style and demeaned Zhu Xi, so they excluded it out of many anthologies of Zhu Xi. Only when Zhu Pei(Ming dynasty) edited the Book Eight of ''Supplement to Collected Works of Duke Wen'', he incited it from transcript of Zhu Xi’s Genealogy. In addition, ''Complete Works of Zhu Tzua• Book Twenty-one•Home Hearing'' was also included.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 03:07, 22 November 2021 (UTC)

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

曹雪芹借宝钗之口说出这篇少见的文章，一则以显示宝钗无书不读，再者也暗示自己博览群籍，同时也对那些自封的朱熹卫士予以调侃。可见曹雪芹即使开玩笑，也非闲笔，总有一定的用意。（详见注释）鉴于所要注释的词语性质不同，因此对注文的要求也有所不同。

Saying this rare writing through Precious Hairpin Marshgrass, on the one hand Cao Xueqin showed her strong love of reading as well as implied own extensive reading, and on the other, he played off those self-appointed guards of Zhu Xi. Obviously, his joking is not casual but absolutely with some profound meaning.(see annotations) The nature of words annotated is different, so the requirements for explanatory notes are different as well.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 02:41, 22 November 2021 (UTC)

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

其一，对于一般的疑难词语，重在疏通文意，多不引经据典，追根溯源。其二，对于成语、典故，则既要注明其出典，又要解释其本义，还要说明其引申义或比喻义。其三，对于各种名物（如建筑、服饰、官署、官职、琴棋书画、医卜星相等），则力求变专门术语为通俗语言，以利读者理解。

Firstly, as for normally confusing words, the emphasis is on clearing up the meaning of the text, as much quoting scripture and tracing the roots as possible. Secondly, for idioms and allusions, it is necessary to indicate their origins, explain their original meanings, and also include their derivative meanings or metaphorical meanings. Thirdly, for all kinds of physical objects (such as architecture, costumes, official offices, official positions, Four Arts( qin, chess, calligraphy and painting), medicine, divination and astrology, etc.), the attempt is to turn specialized terms into common language in order to facilitate readers’ understanding.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:24, 24 November 2021 (UTC)

Firstly, as for common confusing words, it should emphasize on clearing up the meaning of the text, as much quoting scripture and tracing the roots as possible. Secondly, for idioms and allusions, it is necessary to indicate their origins, explain their original meanings, and also include their derivative meanings or metaphorical meanings. Thirdly, for various technical terms of objects (such as architecture, costumes, official offices, official positions, Four Arts( qin, chess, calligraphy and painting), medicine, divination and astrology, etc.), the attempt is to turn specialized terms into common language in order to facilitate readers’ understanding.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 12:17, 28 November 2021 (UTC)

==付诗雨 Fù Shīyǔ 日语语言文学女 202120081486==

其四，对于历史名人，则注明其所在朝代、简历及突出事迹。对于传说人物，则注明其出处及相关故事。其五，对于珍禽异兽、奇花异卉等，则注明其出处来历、奇异之处及相关故事。

Fourthly, as for historical celebrities, their dynasties, resumes and outstanding deeds should be indicated. As for legendary figures, their sources and related stories should be indicated. Fifthly, as for rare birds and animals, unusual flowers and different plants, etc., their origins and histories, peculiar places and related stories should be indicated.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 14:36, 23 November 2021 (UTC)

Fourthly, as for historical celebrities, their dynasties, resumes and outstanding deeds should be indicated. As for legendary figures, their sources and related stories should be indicated. Fifthly, as for rare birds and fabulous beasts, unusual flowers and different plants, etc., their origins and histories, peculiarities and related stories should be indicated.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 15:50, 23 November 2021 (UTC)

==高蜜 Gāo Mì 翻译学女 202120081487==

其六，对于风俗、礼仪、节气等，则注明其形成沿革、具体内容。其七，对于谜语，则既要揭出谜底，又要解释谜语中的疑难词语、成语典故，还要说明谜底的根据。对于酒令，则要参照令谱，详述酒令的玩法及过程。

Sixthly, in terms of customs, etiquette and solar terms, its formation, development and content should be indicated. Seventhly, in terms of riddles, answers should be uncovered and an explanation is expected to be given to the answer as well as to difficult words, idioms and allusions in the riddle. Finally, in terms of drinking games, elaboration should be given on the rules and the process according to the instruction manual.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 15:51, 23 November 2021 (UTC)

Sixthly, in terms of customs, etiquette and solar terms, its formation, development and content should be indicated. Seventhly, in terms of riddles, answers should be uncovered and it is necessary to explain the difficult words and idioms in the riddle, and to explain the basis of the answer.Finally, in terms of drinking games, elaboration should be given on the rules and the process according to the instruction manual.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 05:45, 27 November 2021 (UTC)

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

其八，对于所引前人诗、词、曲、文等，皆要注明出处；诗、词、曲照录全文，文则节录相关的文字。其九，对于具有隐寓或暗示意味的诗、词、曲、文、成语、典故、谜语、酒令等，因其关系到故事情节的发展和人物性格、运命的描写，故除了作注释之外，还要揭示其隐藏的含义。总而言之，注文以释难为易、释疑为明为宗旨，以释义准确、释文简炼为目标。

Eighthly, reference to predecessors' poems, Ci, Qu, essay, etc., must indicate the source; Poems, Ci, Qu are transcribed without changing the original words, and the essay takes the relevant words. Ninthly, for poems, Ci, Qu, essay, idioms, allusions, riddles, drinkers’ wager game and so on with implicit or suggestive meaning, because they are related to the development of the story plot and the description of the character and fate, so in addition to making annotations, but also to reveal his hidden meaning. In a word, the annotations aim to explain the difficulty as easy, to explain the doubt as clear. Aim to explain the meaning accurately and explain the text concisely.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 05:32, 27 November 2021 (UTC)

Eight, all quotations from poems, lyrics, songs and essays should be attributed to the source; the poems, lyrics and songs should be reproduced in their entirety, while the essays should be excerpted from the relevant texts. Nine, for poems, lyrics, songs, texts, idioms, allusions, riddles, wine orders, etc., which have an implicit or suggestive meaning, as they relate to the development of the storyline and the description of the characters' personalities and fortunes. The commentary should reveal their hidden meanings in addition to annotations. All in all, the aim of the commentary is to explain the difficult for the easy and the doubtful for the clear, and to explain the meaning accurately and to explain the text concisely.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 12:32, 28 November 2021 (UTC)

==何芩 Hé Qín 翻译学女 202120081489==

愿望虽然如此，但学力有限，经验欠缺，愿望能否实现，毫无把握。诚望方家指教，读者检验。

第一回甄士隐梦幻识通灵贾雨村风尘怀闺秀

Although I wish to do so, I am not sure whether my wish can be realized because of my limited learning and lack of experience.I hope that the readers will test it.

Chapter 1 Hidden Turth--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 12:33, 28 November 2021 (UTC)

Although I wish to do so, I am not sure whether the wish can come true with my limited ability and experience. Sincerely hope that other authors teach something and readers check it.

Chapter 1 Zhen Shiyin, in a vision, apprehends spirituality. Jia Yucun, in the windy and dusty world, cherishes fond thoughts of a beautiful maiden. --[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 07:21, 24 November 2021 (UTC)

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

此开卷第一回也。作者自云：曾历过一番梦幻之后，故将真事隐去，而借“通灵”之说，撰此《石头记》一书也，故曰“甄士隐”云云。但书中所记何事何人

This is the first chapter of the book. The author said that after going through the illusion, he prefered covering some truth and in virtue of mysticism wrote the novel ''The Story of the Stone''，so instead he used the name of Zhen Shiyin as a major speaker. But things and people noted in it--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 03:59, 23 November 2021 (UTC)

This is the first chapter of the book.Subsequent to the visions of a dream which he had，on some previous occasion，experienced，the writer personally relates，he designedly concealed the true circumstances，and borrowed the attributes of perception and spirituality to relate this story of the Record of the Stone. With this purpose，he made use of such designations as Chen Shih-yin and the like. What are，however，the events recorded in this work？--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 10:19, 24 November 2021 (UTC)

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

自己又云：“今风尘碌碌，一事无成。忽念及当日所有之女子，一一细考较去，觉其行止见识，皆出我之上；我堂堂须眉，诚不若彼裙钗：我实愧则有馀，悔又无益，大无可如何之日也。当此日，欲将已往所赖天恩祖德，锦衣纨袴之时，饫甘餍肥之日，背父兄教育之恩，负师友规训之德，以致今日一技无成、半生潦倒之罪，编述一集，以告天下：知我之负罪固多，然闺阁中历历有人，万不可因我之不肖，自护己短，一并使其泯灭也。

The author speaking for himself, goes on to explain, with the lack of success which attended every single concern, I suddenly bethought myself of the womankind of past ages. Passing one by one under a minute scrutiny, I felt that in action and in lore, one and all were far above me; that in spite of the majesty of my manliness, I could not, in point of fact, compare with these characters of the gentle sex. And my shame forsooth then knew no bounds; while regret, on the other hand, was of no avail, as there was not even a remote possibility of a day of remedy.On this very day it was that I became desirous to compile, in a connected form, for publication throughout the world, with a view to (universal) information, how that I bear inexorable and manifold retribution; inasmuch as what time, by the sustenance of the benevolence of Heaven, and the virtue of my ancestors, my apparel was rich and fine, and as what days my fare was savory and sumptuous, I disregarded the bounty of education and nurture of father and mother, and paid no heed to the virtue of precept and injunction of teachers and friends, with the result that I incurred the punishment, of failure recently in the least trifle, and the reckless waste of half my lifetime. There have been meanwhile, generation after generation, those in the inner chambers, the whole mass of whom could not, on any account, be, through my influence, allowed to fall into extinction, in order that I, unfilial as I have been, may have the means to screen my own shortcomings.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 12:42, 22 November 2021 (UTC)

The author goes on to explain, with the lack of success which attended every single concern, I suddenly bethought myself of the womankind of past ages. Thinking of them one by one under a minute scrutiny, I felt that in action and in lore, one and all were far above me; that in spite of the majesty of my manliness, I could not, in point of fact, compare with these characters of the gentle sex. And my shame forsooth then knew no bounds; while regret, on the other hand, was of no avail, as there was not even a remote possibility of a day of remedy.On this very day it was that I became desirous to compile, in a connected form, for publication throughout the world, with a view to (universal) information, how that I bear inexorable and manifold retribution; inasmuch as what time, by the sustenance of the benevolence of Heaven, and the virtue of my ancestors, my apparel was rich and fine, and as what days my fare was savory and sumptuous, I disregarded the bounty of education and nurture of father and mother, and paid no heed to the virtue of precept and injunction of teachers and friends, with the result that I incurred the punishment, of failure recently in the least trifle, and the reckless waste of half my lifetime. There had been meanwhile, generation after generation, those in the inner chambers, the whole mass of whom could not, on any account, be, through my influence, allowed to fall into extinction, in order that I, unfilial as I have been, may have the means to hide my own shortcomings.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:34, 22 November 2021 (UTC)

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

所以蓬牖茅椽，绳床瓦灶，并不足妨我襟怀；况那晨风夕月，阶柳庭花，更觉得润人笔墨。我虽不学无文，又何妨用假语村言敷演出来，亦可使闺阁昭传，复可破一时之闷，醒同人之目，不亦宜乎？”故曰“贾雨村”云云。

"Though my home is now a thatched cottage in which there are shabby windows, bed made of rope and earthen stove, all of these can not change my being broad and level. Besides, the morning breeze, the dew of night, the willows by me steps and the flowers in the yard inspired me to wield my pen. Though I have little learning and literary talent, it doesn't matter if I tell a tale in rustic language to record those lovely girls. This should help readers distract them from their worries. And that's the reason why I use the name Rainvillage Merchant."--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 13:27, 21 November 2021 (UTC)

"Though my home is now a thatched cottage in which there are shabby windows, bed made of rope and earthen stove, all of these can not change my being broad and level. Besides, the morning breeze, the dew of night, the willows by me steps and the flowers in the yard inspired me to wield my pen. Though I have little learning and literary talent, it doesn't matter if I tell a tale in rustic language to record those lovely girls. This should help readers distract them from their worries. And that's the reason why I use the name Jia Yucun."--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 14:19, 23 November 2021 (UTC)

==曾俊霖 Zēng Jùnlín 国别男 202120081478==

更于篇中间用“梦”、“幻”等字，却是此书本旨，兼寓提醒阅者之意。看官：你道此书从何而起？说来虽近荒唐，细玩颇有趣味。

In the middle of the article, the words "dream" and "fantasy" are the purpose of the book and the meaning of reminding readers. Reader: where did you start this book? Although it's absurd, it's fun to play.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:21, 23 November 2021 (UTC)
In the middle of the article, the words "dream" and "fantasy" are the purpose of the book and the meaning of reminding readers. Reader: where did you start this book? Although it's absurd, it's fun to play.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 13:33, 24 November 2021 (UTC)Huang Zhuliang

==黄柱梁 Huáng Zhùliáng 国别男 202120081493==

却说那女娲氏炼石补天之时，于大荒山无稽崖，炼成高十二丈、见方二十四丈大的顽石三万六千五百零一块，那娲皇只用了三万六千五百块，单单剩下一块未用，弃在青埂峰下。谁知此石自经锻炼之后，灵性已通，自去自来，可大可小。因见众石俱得补天，独自己无才，不得入选，遂自怨自愧，日夜悲哀。一日，正当嗟悼之际，俄见一僧一道远远而来，生得骨格不凡，丰神迥异，来到这青埂峰下，席地坐谈。It is said that, once upon a time, when Nuwa was refining stones to mend the sky, she refined them into 36,501 pieces of hard stones 12-feet high and 24-feet square on the Wuji Cliff of the Da Huangshan Mountain. Numa, the creator of human beings in Chinese myth, only used 36,500 pieces, leaving only one unused and abandoned it under the Qinggeng Peak.Who knows, after the stone has been refined and created, its spirit has been passed. It can be big or small.Seeing that all the stones were able to mend the sky, he had no talent and could not be selected, so he complained and felt ashamed and mourned day and night. One day, at the time of mourning, he suddenly saw a monk and a Taoism priest with extraordinary personality coming from afar. They came to the Qinggeng Peak and sat on the ground to talk.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 13:34, 24 November 2021 (UTC)Huang Zhuliang

It is said that, once upon a time, when Nuwa(Goddesses of Sky-patching) was refining stones to mend the sky, she refined them into 36,501 pieces of hard stones 12-feet high and 24-feet square on the Wuji Cliff of the Da Huangshan Mountain. Numa, the creator of human beings in Chinese myth, only used 36,500 pieces, leaving only one unused and abandoned it under the Qinggeng Peak.Who knows, after the stone has been refined and created, it had its spirit, it moved freely and could be big or small.Seeing that all the stones were able to mend the sky, he had no talent and could not be selected, so he complained and felt ashamed and mourned day and night. One day, at the time of mourning, he suddenly saw a monk and a Taoism priest with extraordinary personality coming from afar. They came to the Qinggeng Peak and sat on the ground to talk.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 05:57, 26 November 2021 (UTC)

==金晓童 Jīn Xiǎotóng 202120081494==

见着这块鲜莹明洁的石头，且又缩成扇坠一般，甚属可爱。那僧托于掌上，笑道：“形体倒也是个灵物了，只是没有实在的好处。须得再镌上几个字，使人人见了，便知你是件奇物。

It was lovely to see this bright and clean stone shrinking like a fan. Resting on his palm, the monk smiled and said, "The body is a spiritual being, but it has no real benefit. Words had to be engraved so that everyone could see you and know that you were a wonder.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 15:01, 20 November 2021 (UTC)
Looking at this bright and clean stone shrinking like a fan, which is so lovely, with the stone on his palm the monk smiled and said, "Your body is a spiritual being, but ihas no real benefits. Words should be engraved so that everyone could see you and know that you are a wonder.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 11:42, 24 November 2021 (UTC)

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

然后携你到那昌明隆盛之邦、诗礼簪缨之族、花柳繁华地、温柔富贵乡那里去走一遭。”石头听了大喜，因问：“不知可镌何字？携到何方？望乞明示。”那僧笑道：“你且莫问，日后自然明白。”
Then take you there, a city-state of prosperity, a family of scholar, a place of flowers and willows. After listening, Stone asked rejoicingly: “I do not know what word I can write? Where I will be taken to? I hope get your instruction.” The monk smiled, “You do not rush into answer, and you will know it some day.”--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 11:24, 24 November 2021 (UTC)

Then I'll take you for a walk to the prosperous country, the family of poems, gifts and tassels, the prosperous place of flowers and willows, and the gentle and rich township. " The stone was overjoyed when he asked, "I don't know what word to engrave? Where to carry it? I hope to beg clearly." the monk smiled and said, “You do not rush into answer, and you will know it some day.”--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 14:54, 28 November 2021 (UTC)

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

说毕，便袖了，同那道人飘然而去，竟不知投向何方。又不知过了几世几劫，因有个空空道人访道求仙，从这大荒山无稽崖青埂峰下经过，忽见一块大石，上面字迹分明，编述历历。空空道人乃从头一看，原来是无才补天，幻形入世，被那茫茫大士、渺渺真人携入红尘、引登彼岸的一块顽石：上面叙着堕落之乡、投胎之处，以及家庭琐事、闺阁闲情、诗词谜语，倒还全备。

Having concluded these words, he put the stone in his sleeve, and proceeded on his journey, in company with the Taoist priest. No one knows where he took the stone. Nor can it be known how many centuries and ages elapsed, before a Taoist priest, named K'ung K'ung, passed, during his researches after the eternal reason and his quest after immortality, by these Ta Huang Hills, Wu Ch'i cave and Ch'ing Keng Peak. Suddenly seeing a large stone, on the surface of which the handwriting on it is clear and the calendar is compiled, K'ung K'ung examined them from first to last. They, in fact, explained how that this stone had originally been devoid of the properties essential for the repairs to the heavens, how it would be transmuted into human form and introduced by Mang Mang the High Lord, and Miao Miao, the Divine, into the world of mortals, and how it would be led over the other bank (across the San Sara). On the surface, it describes the land of degeneration, the place of reincarnation, as well as family trivia, boudoir leisure, poetry, riddles, which could not be ascertained.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 04:54, 24 November 2021 (UTC)

Having concluded these words, he put the stone in his sleeve, and proceeded leisurely on his journey, in company with the Taoist. However, no one knew where he went. Nor can it be known how many centuries and ages elapsed, before a Taoist priest, Kongkong daoren Dauist by name, passed, during his researches after the eternal reason and his quest after immortality, by these Da Huang Hills, Wu Ch'i cave and Ch'ing Keng Peak. Suddenly perceiving a large block of stone, on the surface of which the traces of characters giving in a connected form, the various incidents of its fate could be clearly predicted. Kongkong daoren Dauist examined them from beginning to end. In fact, they explained how this block of worthless stone which had originally been devoid of the properties essential for the mending to the heavens, would be transmuted into human form and introduced by Mang Mang the High Lord, and Miao Miao, the Divine, into the world of mortals, and how it would be led over the other world (across the San Sara). On the surface, it recorded the spot of its degeneration and the place of its birth. The complete recording also included various family trifles, trivial affairs of young ladies, verses and riddles.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 06:17, 28 November 2021 (UTC)--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 12:02, 29 December 2021 (UTC)

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

只是朝代年纪，失落无考。后面又有一偈云：无才可去补苍天，枉入红尘若许年。此系身前身后事，倩谁记去作奇传？

But the name of the dynasty and the year of the reign were obliterated and could not be confirmed. There was also a Buddhist verse following behind:
Lacking in virtues to mend the azure skies,
in vain I have been into the mortal world for many years.
These facts are of a former and after life,
but who will record a strange legend for me?--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 03:57, 24 November 2021 (UTC)

But the name of the dynasty and the year of the reign were obliterated and could not be confirmed. There was also a Buddhist verse following behind:
Lacking in virtues to mend the azure sky, nothing have I gained within the years spent in the secular world. All of these about my present life and afterlife, who would record them for me?--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:59, 26 November 2021 (UTC)

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

空空道人看了一回，晓得这石头有些来历，遂向石头说道：“石兄，你这一段故事，据你自己说来，有些趣味，故镌写在此，意欲闻世传奇。据我看来：第一件，无朝代年纪可考；第二件，并无大贤大忠理朝廷、治风俗的善政，其中只不过几个异样女子，或情或痴，或小才微善。我纵然抄去，也算不得一种奇书。”

As the Taoist priest named Kongkong once has examined the stone, he had some idea about the story on it, and then said to the stone, "Brother, maybe in your opinion, the story inscribed on you is of some interest so as to be kept here to win a fame throughout the world. But to my mind, it is far from a legend book to be transcribed. Firstly, there are hardly any clues about the time period of the background; secondly, no outstanding governance regarding politics and costumes has been achieved by great talents or loyal officials, and what it mainly narrates are merely several unusual women, some stuck in love, some boasting subtle intelligence and benevolence."--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 09:02, 21 November 2021 (UTC)

As the Taoist priest named Kongkong once has examined the stone, he knew that the stone had some history, and then said to the stone, "Brother, maybe in your opinion, the story inscribed on you is of some interest so as to be kept here to win a fame throughout the world. But to my mind, it is far from a legend book to be transcribed. Firstly, there are hardly any clues about the time period of the background; secondly, no outstanding governance regarding politics and costumes has been achieved by great talents or loyal officials, and what it mainly narrates are merely several unusual women, some stuck in love, some boasting subtle intelligence and benevolence."--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 03:05, 27 November 2021 (UTC)

==李双 Lǐ Shuāng 翻译学女 202120081499==

石头果然答道：“我师何必太痴？我想历来野史的朝代，无非假借汉、唐的名色；莫如我这石头所记，不借此套，只按自己的事体情理，反倒新鲜别致。况且那野史中，或讪谤君相，或贬人妻女，奸淫凶恶，不可胜数；更有一种风月笔墨，其淫秽污臭，最易坏人子弟。

The stone answered: “Why are you so stubborn? I think the dynasties of unofficial history are nothing more than under the guise of Han, Tang. They are not as good as the stories recorded by me, a stone, which don’t follow the convention but according to the real facts and therefore are more novel on the contrary. Moreover, those unofficial histories are either slandering the emperor and his subjects, or belittling other people’s wives and children. There are countless descriptions of ferocity and adultery which are the most likely to have a bad influence on the younger generation.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 10:54, 24 November 2021 (UTC)

The stone answered: “Why are you so stubborn? I think the dynasties recorded in the unofficial histories are nothing more than under the guise of Han and Tang Dynasty. They are not as good as the stories recorded by me, a stone, which don’t follow the convention but according to the real facts and therefore are more novel on the contrary. Besides, those unofficial histories are either slandering the emperor and his subjects, or belittling other people’s wives and children. There are countless descriptions of ferocity and adultery which are most likely to have a bad influence on the younger generation.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 11:10, 24 November 2021 (UTC)

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

至于才子佳人等书，则又开口文君，满篇子建，千部一腔，千人一面，且终不能不涉淫滥。在作者不过要写出自己的两首情诗艳赋来，故假捏出男女二人名姓；又必旁添一小人拨乱其间，如戏中小丑一般。更可厌者，之乎者也，非理即文，大不近情，自相矛盾。

As for the books about the talented and the beauties, they talked about Wen and Jun, the pages were also full of Zi and Jian. A thousand volumes present the same thing, and a thousand person are also in the same character. Moreover, they cannot avoid to some licentious things. The authors, who had to write several sentimental odes and elegant ballads, had falsely invented the names of both men and women, and also some bad guys who like a clown in a play made some troubles in there. As for the annoying men, they had nothing in their minds and talked about Li and Wen, which had no link with the targeted things and paradoxical in the whole.--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 00:53, 22 November 2021 (UTC)
As for books related to talented scholars and beautiful ladies, he also talked about Wenjun, who is good at articles and is capricious, but he could not avoid prostitution in the end. The author just wants to write two of his own love poems, so he falsely pinches out the names of men and women; he must add a little person to make trouble in the meantime, like a clown in a play. The more annoying, the more it is, the unreasonable is the literary, the most unkind, self-contradictory.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 03:24, 24 November 2021 (UTC)

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

竟不如我这半世亲见亲闻的几个女子，虽不敢说强似前代书中所有之人，但观其事迹原委，亦可消愁破闷；至于几首歪诗，也可以喷饭供酒。其间离合悲欢，兴衰际遇，俱是按迹循踪，不敢稍加穿凿，至失其真。只愿世人当那醉馀睡醒之时，或避事消愁之际，把此一玩，不但是洗旧翻新，却也省了些寿命筋力，不更去谋虚逐妄了。
It’s not as good as the few women I’ve seen and heard about in this half of my life. Although I dare not say that she is better than all the people in the books of the previous generations. Looking at their deeds, you can also relieve your sorrow and boredom. As for a few poor poems, you can also taste them while eating and drinking.The joys and sorrows, the ups and downs all follow the traces, daring not to lose the truth. I only hope that when the world is awake, or when avoiding troubles and sorrows ,they can enjoy it, not only to renovate, but also to save some lifespan and energy, not to seek falsehood.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 03:15, 24 November 2021 (UTC)

I am not as good as the women I have seen and heard in my life. Though I cannot say that they are as good as all the people in the books of previous generations, I can relieve my sorrow and despair by watching their deeds. As for a few crooked poems, you can also spray rice for wine. During the separation of joys and sorrows, ups and downs, are all traced, dare not slightly cut, to lose its true. I only hope that when people wake up from their drunkenness, or when they are relieved of their sorrow, they will not only wash the old and renew it, but also save some strength of life, so as not to seek for false things.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 04:39, 24 November 2021 (UTC)

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

我师意为如何？”空空道人听如此说，思忖半晌，将这《石头记》再检阅一遍。因见上面大旨不过谈情，亦只是实录其事，绝无伤时诲淫之病，方从头至尾抄写回来，闻世传奇。
What does my master think?" Empty Taoist listen to say so, ponder a long time, will this "stone" review again. Seeing that the message above was only a talk of love, and only a record of it, without suffering from the disease of lewdness, I copied it back from beginning to end and heard the legend of the world.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 04:38, 24 November 2021 (UTC)--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 13:10, 29 December 2021 (UTC)

What do I mean? " After hearing this, Taoist Kongkong thought for a long time and reviewed the stone story again. Seeing that the above general purpose is nothing but romance, it is only a factual record of its affairs, and there is no disease of obscenity at the time of injury, so I copied it back from beginning to end and heard the legend of the world.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 04:35, 24 November 2021 (UTC)

==李怡 Lǐ Yí 法语语言文学女 202120081504==

从此空空道人因空见色，由色生情，传情入色，自色悟空，遂改名情僧，改《石头记》为《情僧录》。东鲁孔梅溪题曰《风月宝鉴》。后因曹雪芹于悼红轩中披阅十载，增删五次，纂成目录，分出章回，又题曰《金陵十二钗》，并题一绝。
Since then empty Taoist empty because of empty see color, from color feeling, feeling into color, since color wukong, he then changed his epithet into Monk in Love, and changed ''The story of the Stone'' into ''Record of Monk in Love''. Kong Meixi of The Eastern Lu dynasty wrote the book ''Catalogue of Chinese Ancient Romance''.After cao Xueqin in mourning red xuan read ten years, add and delete five times, compiled into a directory, a chapter back, and the title yue ''The Twelve Flowers of Gold Mausoleum '', and a must.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 04:31, 24 November 2021 (UTC)

Since then Empty Taoist saw form through emptiness, generated emotions due to form, into which emptiness was stilled and epiphany was revealed, he then changed his epithet into Monk in Love, and changed ''The story of the Stone'' into ''Record of Monk in Love'', which was called ''Catalogue of Chinese Ancient Romance'' by Kong Meixi of The Eastern Lu dynasty. Afterwards Cao Xueqin read and amended it for ten years, revised and polished it for five times, and then compiled it into a directory with chapters and sections. Finally he entitled it ''The Twelve Flowers of Gold Mausoleum'' attached with a Chinese quatrain.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 04:55, 24 November 2021 (UTC)

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

即此便是《石头记》的缘起。诗云：满纸荒唐言，一把辛酸泪。都云作者痴，谁解其中味?

This was the origin of ''The Story of The Stone''. A poem once said, “the whole novel is full of absurd words, as well as bitter tears. People all consider the author crazy, but is there anyone who knows its true meaning？--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:22, 23 November 2021 (UTC)

This is the origin of ''The Story of the Stone''. The poem says: The pages were full of idle words which was penned with hot and bitter tears; All men call the author fool, but no one understood his secret message.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 08:25, 23 November 2021 (UTC)

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

《石头记》缘起既明，正不知那石头上面记着何人何事？看官请听。按那石上书云：当日地陷东南，这东南有个姑苏城，城中阊门最是红尘中一二等富贵风流之地。

Now that the origin of the stone is clear, let us see what was written on the stone. Dear readers, please listen. Long ago, the earth dipped downwards in the southeast where there was a city named Gusu; and the quarter around Changmen Gate of Gusu was one of the most fashionable centres of wealth and nobility in the world of men. --[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 02:10, 23 November 2021 (UTC)

The origin of "The Story of the Stone" was clear, but did you know who or what was written on the stone? Please listen to me and go on. According to the record on the stone: One day, there was a subsidence in southeast and there was Gusu city. In the city, the quarter around Brothel Gate was one of the most fashionable centres of wealth and nobility in the world of men. --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 03:13, 23 November 2021 (UTC)Liu Wei

==刘薇 Liú Wēi 国别女 202120081507==

这阊门外有个十里街，街内有个仁清巷，巷内有个古庙，因地方狭窄，人皆呼作“葫芦庙”。庙旁住着一家乡宦，姓甄名费，字士隐；嫡妻封氏，性情贤淑，深明礼义。家中虽不甚富贵，然本地也推他为望族了。

Outside the city of Brothel Gate, there was a Worldly Way and a Carnal Line was on the street. In the Carnal Line, there was an ancient temple called "Gourd Temple" owing to it`s narrow location. Next to the temple lived a hometown official named Fei Potterymaker, courtesy named Hidden; his legal wife, surnamed Feng, was a virtuous person with a deep sense of courtesy and righteousness. Although the family was not very rich, the local people also thought that he was a prominent family. --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 14:02, 21 November 2021 (UTC)Liu Wei

Outside the Changmen gate was the Shili street and the Renqing lane, inside which was an ancient temple, called the "Gourd temple" for its narrow space. Next to the temple lived a retired official named Zhen Fei, whose courtesy name was Shi Yin; his legal wife Mrs. Feng was a virtuous person with a deep awareness of courtesy and righteousness. Although the family was not very rich, the locals also regarded him as a noble man.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 15:19, 22 November 2021 (UTC)

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

因这甄士隐禀性恬淡，不以功名为念，每日只以观花种竹、酌酒吟诗为乐，倒是神仙一流人物。只是一件不足：年过半百，膝下无儿；只有一女，乳名英莲，年方三岁。一日炎夏永昼，士隐于书房闲坐，手倦抛书，伏几盹睡，不觉矇眬中走至一处，不辨是何地方。

Hidden Truth had a tranquil mind, indifferent to fame or gain. The only fun in every day life was enjoying beautiful flowers and planting bamboo, drinking nectared wine and reciting poetry. What a fairy-like figure! There was only one pity, that is, though in his fifty years old, he had no son nut only one three-year-old daughter, named Pity Zhen. One day in the hot summer, Hidden Truth was sitting idly in his study. Tired, he threw away his book and fell asleep at his desk, drifting to a place he could not tell.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 03:19, 21 November 2021 (UTC)

Zhen Shiyin had a tranquil mind, indifferent to fame or gain. The only fun in every day life was enjoying beautiful flowers and planting bamboo, drinking nectared wine and reciting poetry. What a fairy-like figure! But there was one pity, that is, though in his fifty years old, he had no son nut only one three-year-old daughter, named Yinglian. One day in the hot summer, Shenyin was sitting idly in his study. He was so tired that he threw away his book and fell asleep at his desk, drifting to a place he could not tell.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 05:12, 23 November 2021 (UTC)

==刘越 Liú Yuè 亚非语言文学女 202120081509==

忽见那厢来了一僧一道，且行且谈。只听道人问道：“你携了此物，意欲何往？”那僧笑道：“你放心。如今现有一段风流公案，正该了结，这一干风流冤家，尚未投胎人世。

Unexpectedly he espied， in the opposite direction， two priests coming towards him： the one a Buddhist， the other a Taoist. As they advanced they kept up the conversation in which they were engaged. "Whither do you purpose taking the object you have brought away？" he heard the Taoist inquire. To this question the Buddhist replied with a smile： "Set your mind at ease，" he said； "there's now in maturity a plot of a general character involving mundane pleasures， which will presently come to a denouement. The whole number of the votaries of voluptuousness have， as yet， not been quickened or entered the world.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 05:07, 23 November 2021 (UTC)

Unexpectedly he espied, from the opposite direction, A monk and a Taoist coming up to him. As they advanced, they kept up the conversation in which they were engaged. "Whither do you purpose taking the thing you have brought away？" He heard the Taoist inquire. The Buddhist replied with a smile: "Set your mind at ease. There's now a case of romantic affairs, which should presently come to a denouement. The whole number of the votaries of voluptuousness involved in have not been reincarnated.--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 12:31, 24 November 2021 (UTC)

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

趁此机会，就将此物夹带于中，使他去经历经历。”那道人道：“原来近日风流冤家又将造劫历世，但不知起于何处，落于何方？”那僧道：“此事说来好笑。

Taking this opportunity, we can mingle it in them and let it experience the life on earth." The Taoist said: "So those debtors of love affairs will be reincarnated and then suffer on earth. But from which place will the reincarnation start and in which direction will them be placed still remain unsettled." The monk said: "It's a funny story. --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 12:28, 24 November 2021 (UTC)

Taking this opportunity, we can carry it away and let it experience the life on earth. ”The Taoist priest said: "The debtors of love affairs will be reincarnated and then suffer on earth recently. But it' s unknown that from when the story started and to where will it go.“ The monk said: "It's a funny story....-- --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 08:23, 28 November 2021 (UTC)

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

只因当年这个石头，娲皇未用，自己却也落得逍遥自在，各处去游玩。一日来到警幻仙子处，那仙子知他有些来历，因留他在赤霞宫中，名他为赤霞宫神瑛侍者。他却常在西方灵河岸上行走，看见那灵河岸上三生石畔有棵绛珠仙草，十分娇娜可爱，遂日以甘露灌溉，这绛珠草始得久延岁月。

This stone have not been used by The Empress Nu Wo. Thus It used to be free to roam on the heavens until one day he came to the Fairy of Wonders, who knew his special background. So she kept him in her palace and gave him the name by the Divine Eunuch of the Cabernet Palace. He often walked along the bank of West Sacred River where he saw a delicate and lovely Red Bead flower on the bank of the Three Living Stones. Being struck with the great beauty of this flower, the stone remained there, tending its protegee with the most loving care, and daily moistening its roots with the choicest nectar of the sky. Yielding to the influence of disinterested love, the Red Bead flower lived a longer life. --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 07:32, 28 November 2021 (UTC)

Because this stone in that age hasn‘t been used by a goddess in Chinese mythology，he could be careless and can go to visit many places for fun. One day，he come to the Fairy of Wonders who knew his special background. So she kept him in her palace and gave him the name by the Divine Eunuch of the Cabernet Palace.But he always walks by the bank of the West Sacred River. One day，he saw a fairy grass beside the Three Living Stones on the bank of the river，which is cute and delicate，so he irrigated it day by day，making it living longer.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 15:31, 28 November 2021 (UTC)

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

后来既受天地精华，复得甘露滋养，遂脱了草木之胎，幻化人形，仅仅修成女体，终日游于离恨天外，饥餐秘情果，渴饮灌愁水。只因尚未酬报灌溉之德，故甚至五内郁结着一段缠绵不尽之意。常说：‘自己受了他雨露之惠，我并无此水可还。
Afterwards，because of the essence of the nature and the nutrients of the dew，it gradually got rid of itself from the trees and become a human-being，but only can become a female，meandering outside all day long，when feeling hungry，she would eat fruits，and when feeling thirsty，she would drink water.The reason for her lingering emotions is that she haven‘t showed her gratitude to her benefactors.She always said that：“I was benefited from his dew，but I can‘t bring back a report.”--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 15:21, 28 November 2021 (UTC)--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 15:21, 28 November 2021 (UTC)

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

他若下世为人，我也同去走一遭，但把我一生所有的眼泪还他，也还得过了。’因此一事，就勾出多少风流冤家都要下凡，造历幻缘，那绛珠仙草也在其中。今日这石正该下世，我来特地将他仍带到警幻仙子案前，给他挂了号，同这些情鬼下凡，一了此案。”

If he could be reincarnated as human in the next life, I would also go with him but only in this time return all the sorrows to him, which can let me go through the life. “For this reason, how many pretty teases have to descend to the world suffering the illusory fates, and the Crimson Pearl Flower is also among them. Today, this stone is about to be born, so I comes here specially to bring him to the court of Fairy Maiden Jinhuan, registering him and letting him go down to the earth with ghosts in order to settle the case.”--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 12:37, 24 November 2021 (UTC)

If he could be reincarnated as human in the next life, I would go with him, but I should also return all the sorrows in this time to him, which can enable me to go through the life. "For this reason, lots of pretty teases have to descend to the world suffering the illusory destiny, and that Red Bead Flower is also amomg them. Today this jade is about to be born, so I come here specially to take him to the court of the fairy Disenchantment, endowing him with a registration and letting him go down to the earth with those sentimental ghosts so as to settle the case.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 15:16, 27 November 2021 (UTC)

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

那道人道：“果是好笑，从来不闻有‘还泪’之说。趁此，你我何不也下世度脱几个，岂不是一场功德？”那僧道：“正合吾意。你且同我到警幻仙子宫中，将这蠢物交割清楚，待这一干风流孽鬼下世，你我再去。如今有一半落尘，然犹未全集。”

The Taoist priest says:"It's really ridiculous. I have never heard of the saying of 'returning tears'. We can also take this opportunity to release several souls from purgatory (help several souls of the decease get rid of worldly sufferings). Isn't it a merit?" The monk replies:"It's exactly what I am hoping for. You and I are going to the palace of the fairy Disenchantment, and to deliver such a jade and figure it out. When these dissolute and sinful evils all pass away, we will go to the afterlife. Half of them have fallen into the earthly world, but they have not yet gathered completely."--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 15:04, 27 November 2021 (UTC)

The Taoist priest says:"It's really ridiculous. I have never heard of the saying of 'returning tears'. We can also take this opportunity to release several souls from purgatory (help several souls of the decease get rid of worldly sufferings). Isn't it a merit?" The monk replies:"It's exactly what I am hoping for. You and I will go the palace of the fairy maiden Jing Huan, and to deliver such a jade and figure it out. When these dissolute and sinful evils all pass away, we will go to the afterlife. Half of them have fallen into the earthly world, but they have not yet gathered completely."--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 06:56, 23 November 2021 (UTC)

==毛优 Máo Yōu 俄语语言文学女 202120081515==

道人道：“既如此，便随你去来。”却说甄士隐俱听得明白，遂不禁上前施礼，笑问道：“二位仙师请了。”那僧、道也忙答礼相问。

The Taoist said, "In that case, let's go with you." Then Hidden Truth heard and understood, so he could not help but go forward to salute, smiling and saying, " Please, distinguished masters." The monk and the Taoist also replied with manners.

The Taoist said, "In that case, let's go with you." Then Hidden Truth heard and understood, so he could not help but go forward to salute, smiling and saying, " Please, distinguished masters." The monk and the Taoist also immediately replied with manners.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 10:50, 24 November 2021 (UTC)

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

士隐因说道：“适闻仙师所谈因果，实人世罕闻者。但弟子愚拙，不能洞悉明白。若蒙大开痴顽，备细一闻，弟子洗耳谛听，稍能警省，亦可免沉沦之苦了。”

Hidden Truth said: "What you master talked about the cause and effect is definitely rare in the world. But I am stupid and can't fully understand it. If you can explain it for me to get rid of infatuation and stubbornness, I will listen to you carefully and then take warning from it, avoiding the suffering of enthrallment."--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 08:01, 21 November 2021 (UTC)

Hidden Truth then said, "I have just heard you master's words about karma, a truly rare insight in the world. But I am too ignorant to understand it. If I could be enlightened by you two to get rid of infatuation and stubbornness, I would certainly listen carefully to all that you say and then take warning from it, avoiding the suffering of enthrallment."--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 07:54, 22 November 2021 (UTC)

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

二仙笑道：“此乃玄机，不可预泄。到那时只不要忘了我二人，便可跳出火坑矣。”士隐听了，不便再问，因笑道：“玄机固不可泄露，但适云‘蠢物’，不知为何？或可得见否？”那僧说：“若问此物，倒有一面之缘。”

The two immortals laughed and said, "It is something metaphysical and cannot be divulged in advance. At that time, just don't forget the two of us, and you will be free from your predicament." When Hidden Truth heard this, he stopped pursuing the matter. He laughed and said, "Of course the mystery must not be divulged, but I don't quite understand what the 'stupid thing' is that you just mentioned. Perhaps I have a chance to see it?" The monk said, "This thing you are asking about, you do have the fortune to see it.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 07:39, 22 November 2021 (UTC)--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 12:48, 29 December 2021 (UTC)

The two immortals laughed and said, "It is metaphysical and cannot be divulged in advance. At that time, if you don't forget two of us, and you will be free from your predicament." When Shi Yin heard this, he stopped pursuing the matter. He laughed and said, "Of course the mystery must not be divulged, but I don't quite understand what the 'stupid thing' is that you just mentioned. Perhaps I have a chance to see it?" The monk said, "This thing you are asking about, you do have the fortune to see it.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 06:17, 29 November 2021 (UTC)

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

说着取出，递与士隐。士隐接了看时，原来是块鲜明美玉，上面字迹分明，镌着“通灵宝玉”四字，后面还有几行小字。正欲细看时，那僧便说已到幻境，就强从手中夺了去。

He said and took it out to Hidden Truth. ShiYin received it and found it a bright beautiful jade in which there were four clear characters:Tong Ling Bao Yu followes by several lines of words.When Hidden Truth craved for a careful look, that monk said that he had reached the illusion, so he snatched it from ShiYin's hand.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 02:57, 21 November 2021 (UTC)

Then he said as he took it out and handed it to Hidden Truth. Hidden Truth took a look, and it turned out to be a piece of bright beautiful jade, with clear writing above, engraved with the “Tongling jade”. There were a few lines of small characters behind. When he was about to take a closer look, the monk said he had reached the Illusory Land and snatched the jade from his hands.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 01:47, 22 November 2021 (UTC)

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

和那道人竟过了一座大石牌坊，上面大书四字，乃是“太虚幻境”。两边又有一副对联道：假作真时真亦假，无为有处有还无。士隐意欲也跟着过去，方举步时，忽听一声霹雳，若山崩地陷。

And with that Taoist priest actually passed a large stone archway, above which was engraved four big words, is “ Illusory Land of Great Void ”.On both sides there was a pair of couplets: If false is taken as the truth, then truth is said to be lieing , when nothing is taken as being, then being itself is turned into nothing. Hidden Truth also wanted to pass the big stone archway, but the moment he was about to raise his foot, he heard a crack of thunder which sounded as if the hills were rending asunder and the earth falling in.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 02:52, 21 November 2021 (UTC)

And that Taoist passed a large stone pagoda, written on it four big words, is "Taixu fantasy realm". On both sides, there is a couplet saying: "Falsehood is true when it is true, and there is nothing where there is nothing". Hidden Truth also wanted to follow, when just ready to raise his feet, he heard a thunderbolt all of a sudden, as if a landslide happened.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 02:48, 21 November 2021 (UTC)

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

士隐大叫一声，定睛看时，只见烈日炎炎，芭蕉冉冉，梦中之事便忘了一半。又见奶母抱了英莲走来。士隐见女儿越发生得粉装玉琢，乖觉可喜，便伸手接来，抱在怀中，斗他玩耍一会。

Hidden Truth cried out, and when he fixed his eyes, only seeing the sun is shining, the weather is bright, and the plantains are flourishing, and then he forgot half of his dream. Later, the lactating mother coming with Pity Zhen in her arms. When Hidden Truth noted that his daughter was becoming more and more beautiful and cute, he reached out and took her in his arms, and teased her for a while.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 02:43, 21 November 2021 (UTC)

Hidden Truth cried out, fixing his eyes on the blazing sun and supplely drooping banana leaves, only to be oblivious to half of his dream. Then the wet nurse came over with Pity Zhen in her arms. Hidden Truth perceived that his daughter became so fair and lovely that he couldn’t wait to cradle her in his arms to amuse her.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 05:48, 21 November 2021 (UTC)

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

又带至街前，看那过会的热闹。方欲进来时，只见从那边来了一僧一道：那僧癞头跣足，那道跛足蓬头，疯疯癫癫，挥霍谈笑而至。及到了他门前，看见士隐抱着英莲，那僧便大哭起来，又向士隐道：“施主，你把这有命无运、累及爹娘之物抱在怀内作甚？”

Hidden Truth then took his lovely daughter out into the street to see the lively meeting. When he was about to enter the door, he saw a monk and a Taoist coming from the other side: the monk had ringworm on his head and no shoes or socks on his feet; the Taoist priest was characterized by lameness and untidy hair. They came over, crazy, talking and laughing. When they got to Hidden Truth’s door, seeing him holding Pity Zhen in his arms. The monk began to cry and said to Hidden Truth, “ Benefactor, why did you cradle such an ill-fated and encumbering child in your arms？”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 01:35, 21 November 2021 (UTC)

Hidden Truth then took his lovely daughter to the street to see the lively agora. When he was about to enter the door, he saw a monk and a Taoist priest coming from the other side: the monk had ringworm on his head and no shoes or socks on his feet; the Taoist priest was characterized by lameness and untidy hair. They acted like a lunatic and came over,talking and laughing. When they got to Shiyin’s door, seeing him holding Pity Zhen in his arms. The monk began to cry and said to Hidden Truth, “ Benefactor, why did you cradle such an ill-fated and encumbering child in your arms？”--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 06:06, 21 November 2021 (UTC)

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

士隐听了，知是疯话，也不睬他。那僧还说：“舍我罢，舍我罢。”士隐不耐烦，便抱着女儿转身。

After listening to him,Hidden Truth knew that it's crazy words and ignored him.But the monk also said:"Give her to me,give her to me." Hidden Truth was impatient,so he held his daughter and turned to leave.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 05:59, 21 November 2021 (UTC)

After listening to him, Hidden Truth knew that it was lunatic ravings and ignored him. But the monk complemented:"Give her to me, give her to me." Hidden Truth got impatient, so he embraced his daughter and turned around. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 12:14, 23 November 2021 (UTC)

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

才要进去，那僧乃指着他大笑，口内念了四句言词，道是：惯养娇生笑你痴，菱花空对雪澌澌。好防佳节元宵后，便是烟消火灭时。

When he was about to get in, the monk pointed at him and laughed, mumbling four sentences, which mean “how crazy that you pamper your daughter like this, (see you embrace Yinglian), just like the summer lotus are exposed to the winter snow. Beware of the days after the Lantern Festival, then there is a fire to vanish everything.”--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 03:03, 21 November 2021 (UTC)
When he wanted to go in, the monk pointed at him and laughed, saying…--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 06:56, 24 November 2021 (UTC)

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

士隐听得明白，心下犹豫，意欲问他来历，只听道人说道：“你我不必同行，就此分手，各干营生去罢。三劫后，我在北邙山等你，会齐了，同往太虚幻境销号。”那僧道：“最妙，最妙。”
Shi Yin understood and hesitated, intending to ask him where he came from. The Taoist said, "You and I don't need to go together. Three days later, I wait for you in north mangshan, meet together, with the imaginary land sales number." The monk said, "The best, the best."--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 06:44, 24 November 2021 (UTC)

Shiyin understood,hesitated in his heart,and wanted to ask him where he came from.He only heard the Taoist say: "You and I don't have to go together, just break up and go to work. After the Three Tribulations, I will wait for you in Beimanshan,nnd go to the Tai Unreal Realm to sell the number." The monk said: "The most wonderful, the most wonderful."--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 13:40, 28 November 2021 (UTC)

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

说毕，二人一去，再不见个踪影了。士隐心中此时自忖：“这两个人必有来历，很该问他一问，如今后悔却已晚了。”这士隐正在痴想，忽见隔壁葫芦庙内寄居的一个穷儒，姓贾名化、表字时飞、别号雨村的走来。

After that,the two went away,and they were nowhere to be seen.Shiyin thought to himself at this moment: "These two people must have a history.It's time to ask him,but now it's too late to regret." Shiyin was thinking about it,but suddenly saw a poor scholar living in the Hulu temple next door whose first name is Jia,last name hua,Courtesy name Shifei,and another name Yucun came.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 13:37, 28 November 2021 (UTC)

After saying that, the two went away, and there was no sign of them anymore. Shiyin thought to himself at this moment: "These two people surely had some backgrounds. I should have asked him, but it was too late to regret now." Shiyin was daydreaming, but suddenly saw a poor scholar living in the Hulu temple next door coming up. His first name is hua, last name is jia, secondary personal name is Shifei, and another name is Rainvillage Merchant.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 14:46, 28 November 2021 (UTC)

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

这贾雨村原系湖州人氏，也是诗书仕宦之族。因他生于末世，父母祖宗根基已尽，人口衰丧，只剩得他一身一口。在家乡无益，因进京求取功名，再整基业。

Rainvillage Merchant was born in Huzhou and came from a family of Confucian scholars and officials. Because he was born in last phase of age, the roots of his ancestors had died out. Family declined, and left him alone. He found no benefit in hometown, so he went to Beijing to strive for fame and tried to make another solid foundation for family.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 03:10, 21 November 2021 (UTC)

Jia Yucun came from Huzhou and was born in a family of scholars and officials. However, because he was born in the last phase of the age, the root of his ancestors had died out and family declined, leaving him alone in the world. He found no benefit in hometown, so he went to Beijing to strive for success and fame and tried to make the revitalization of his family.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 04:46, 21 November 2021 (UTC)

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

自前岁来此，又淹蹇住了，暂寄庙中安身，每日卖文作字为生，故士隐常与他交接。当下雨村见了士隐，忙施礼陪笑道：“老先生倚门伫望，敢街市上有甚新闻么？”士隐笑道：“非也。适因小女啼哭，引他出来作耍。正是无聊的很，贾兄来得正好，请入小斋，彼此俱可消此永昼。”

Since arriving in Beijing the year before last, Jia Yuchun had led a hard life, living only in a temple. He wrote poems and articles in exchange for money every day, so Shiyin often often met with him. Once Yucun saw Shiyin, hurriedly saluted and said with a smile, " Sir, you are leaning on the door and looking at something. Is there any news in the market?" Shiyin smiled and said, "No. Just because my little girl cried, so I took her out to play. I am so bored now and you are so nice to appear in time. Please come into my study with me, so that we can both kill the boring time." --[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 03:35, 21 November 2021 (UTC)

Since arriving in Beijing the year before last, Jia Yuchun found himself in difficult conditions and desperate straits. He lived only in a temple and made a living by writing in exchange for money every day, so Shiyin often met with him. At that moment, Yucun saw Shiyin, hurriedly saluted and said with smile, " An old gentleman as you, leaning on the door and looking at something, I wander that is there any news in the street?" Shiyin smiled and said, "Hardly, just because my little girl cried, so I take her out to play. I am so bored now and you‘ve come just at the right moment. Please come into my study, so that we can spend the long day together."--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 14:13, 23 November 2021 (UTC)

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

说着，便令人送女儿进去。自携了雨村来至书房中，小童献茶。方谈得三五句话，忽家人飞报：“严老爷来拜。”

While he was talking, he asked someone to take his daughter back to her room. Then he took Rainvillage Merchant to his study, and a child offered a cup of tea for each of them. But just said a few words, suddenly the family member came quickly to say that "Master Yan came to visit."--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 07:30, 23 November 2021 (UTC)

While talking, he asked someone to take his daughter back to her room. Then he took Rainvillage Merchant to his study, and a child offered a cup of tea for each of them. But just said a few words, suddenly the family member came quickly to say that "Master Yan came to visit." --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:01, 24 November 2021 (UTC)

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

士隐慌忙起身谢道：“恕诓驾之罪。且请略坐，弟即来奉陪。”雨村起身也让道：“老先生请便。晚生乃常造之客，稍候何妨！”说着，士隐已出前厅去了。

HiddenTruth stood up hurriedly and said, " Excuse me.Please sit for a moment first, and I will entertain you at once."Rainvillage Merchant also stood up and answered:" Old gentleman, you go. I often come to you here as a guest, wait a little while is not the matter!" Said, Hidden Truth had walked out of the guest room.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 02:51, 21 November 2021 (UTC)

Shiyin hurriedly got up and thanked, "excuse the crime of cheating driving. Please sit down and my brother will accompany you." Yucun got up and said, "please help yourself, sir. My late life is a regular guest. Why not wait a minute!" said Shiyin, who had left the front hall.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 13:44, 22 November 2021 (UTC)

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

这里雨村且翻弄诗籍解闷，忽听得窗外有女子嗽声。雨村遂起身往外一看，原来是一个丫鬟在那里掐花儿：生的仪容不俗，眉目清秀，虽无十分姿色，却也有动人之处。雨村不觉看得呆了。那甄家丫鬟掐了花儿，方欲走时，猛抬头见窗内有人：敝巾旧服，虽是贫窘，然生得腰圆背厚，面阔口方，更兼剑眉星眼，直鼻方腮。
Here in the rain village, I turned to poetry books to relieve my boredom. Suddenly I heard a woman coughing outside the window. Yucun then got up and looked out. It turned out that it was a servant girl pinching flowers there: Sheng's appearance was not vulgar and his eyebrows were beautiful. Although he was not very beautiful, he was also moving. Yucun was stunned. The Zhen servant girl pinched the flowers. When Fang was about to leave, she suddenly looked up and saw someone in the window: Although I was poor and embarrassed, I had a round waist, thick back, wide face and square mouth. I also had sword eyebrows, star eyes, straight nose and square cheeks.

Yuncun was reading poems to relieve his boredom, suddenly hearing a girl outside the window coughing. Yucun stood up and found a housemaid picking flowers: she was of good appearance and pretty features. Although she was not perfect, she had something touching. Yucun felt stunned. The girl had pinched the flowers and was about to leave when she suddenly raised her head and saw someone in the window. In rags, he had a round waist and a thick back, a wide face and a square mouth, with a sword eyebrow and star eyes, a straight nose and a square cheek.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:14, 24 November 2021 (UTC)

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

这丫鬟忙转身回避，心下自想：“这人生的这样雄壮，却又这样褴褛。我家并无这样贫窘亲友，想他定是主人常说的什么贾雨村了。怪道又说他必非久困之人，每每有意帮助周济他，只是没什么机会。”如此一想，不免又回头一两次。雨村见他回头，便以为这女子心中有意于他，遂狂喜不禁，自谓此女子必是个巨眼英豪，风尘中之知己。
The housemaid turned away quickly and said to herself:” the man is so grand and ragged. I don’t have such deprived friends and relatives, thus he must be Rain Village Merchant that the master has mentioned frequently. It’s said that he will not be trapped in poverty for a long time. The master has meant to help him but doesn’t find a proper chance.” At the thought of this, she looked back for several times, which misled Rian Village to think the girl was attracted by him and felt very excited. He believed that the girl must have a pair of wisdom eye and was his true friend in difficulty.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 02:16, 24 November 2021 (UTC)

The housemaid turned away hurriedly and thought to herself:” the man is so strong, but his clothes are shabby. I don’t have such deprived friends and relatives, thus he must be Jia Yucun that the master has mentioned frequently. It’s said that he will not be trapped in poverty for a long time. The master has always meant to help him but doesn’t find a proper chance.” At the thought of this, she looked back for several times, which misled Yu Cun to think the girl was attracted by him and felt very excited. He believed that the girl must have a good taste and was his true friend in difficulty.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 11:27, 24 November 2021 (UTC)

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

一时小童进来，雨村打听得前面留饭，不可久待，遂从夹道中，自便门出去了。士隐待客既散，知雨村已去，便也不去再邀。一日，到了中秋佳节。

When a child came in, Rainvillage heard that the host entertained the guests meal. Therefore, he knew that he couldn't stay long, so he went out through the lane and went out by himself. Later, Hidden Truth had already served guests, knowing that Rainvillage had gone, so he didn't invite again. One day, it was the Mid Autumn Festival.

When a child came in, Rainvillage heard that the host entertained the guests meal. Therefore, he knew that he couldn't stay long, so he went out through the lane and went out by himself. Later, Hidden Truth had already served guests, knowing that Rainvillage had gone, so he didn't invite again. One day, it was the Mid Autumn Festival.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:53, 26 November 2021 (UTC)

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

士隐家宴已毕，又另具一席于书房，自己步至庙中来邀雨村。原来雨村自那日见了甄家丫鬟曾回顾他两次，自谓是个知己，便时刻放在心上。今又正值中秋，不免对月有怀，因而口占五言一律云：

Shiiyin‘s family banquet has been completed, and another seat in the study, he came to the temple to invite Yucun. It turns out that since that day Yucun saw the Zhen family maid had looked back at him twice, since he said he was a confidant, so he always put on his heart. Now it was the mid-autumn festival, so I couldn't help but feel nostalgic for the moon, so I took five words from the mouth and said.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:51, 26 November 2021 (UTC)

Hidden Truth's family banquet has been completed, and another seat in the study, he came to the temple to invite Rainvillage Merchant. It turns out that since that day Yucun saw the Family of Zhen maid had looked back at him twice, since he said he was a confidant, so he always put on his heart. Now it was the mid-autumn festival, so I couldn't help but feel nostalgic for the moon, so I took five words from the mouth and said.--[[User:Xiong Min|Xiong Min]] ([[User talk:Xiong Min|talk]]) 11:23, 29 December 2021 (UTC)

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

未卜三生愿，频添一段愁。闷来时敛额，行去几回头。自顾风前影，谁堪月下俦？蟾光如有意，先上玉人楼。

I haven’t realized my dream yet, but had sorrowful experience. I often frown when I feel depressed and look back repeatedly when I farewell. With the wind blowing, I look at my shadow. Who can be my partner? If the moon helps,please shed light on the girl’s window and show her my love.

I haven’t realized my dream yet, but had sorrowful experience. I often frown when I feel depressed and look back repeatedly when I farewell. With the wind blowing, I look at my shadow. Who can be my partner? If the moon helps,please shed light on the girl’s window and show her my love.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 12:02, 28 November 2021 (UTC)

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

雨村吟罢，因又思及平生抱负，苦未逢时，乃又搔首对天长叹，复高吟一联云：玉在椟中求善价，钗于奁内待时飞。恰值士隐走来听见，笑道：“雨村兄真抱负不凡也！”

After Rainvillage Merchant finished reciting the love poems of Lucky, he thought of his great ambitions and thought that he had not met a good time, so he recited a pair of couplets that he created aloud: "Jade and hairpin are all placed in the box, hoping that one day it can realize its value and play its role." Just when Hidden Truth came to hear it, Shiyin smiled and said, "Brother Rainvillage Merchant is really ambitious!"--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:38, 24 November 2021 (UTC)

After Rainvillage Merchant finished reciting the love poems of Lucky, he thought of his great ambitions and thought that he had not met a good time, so he recited aloud a pair of couplets that he created: "Jade and hairpin are all placed in the box, hoping that one day it can realize its value and play its role." Just when Hidden Truth came to hear it, Shiyin smiled and said, "Rainvillage Merchant is really ambitious!"--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 16:53, 28 November 2021 (UTC)

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

雨村忙笑道：“不敢。不过偶吟前人之句，何期过誉如此！”因问：“老先生何兴至此？”士隐笑道：“今夜中秋，俗谓团圆之节。想尊兄旅寄僧房，不无寂寥之感。故特具小酌，邀兄到敝斋一饮。不知可纳芹意否？”

Rainvillage Merchant laughed and hurriedly said, "No no, I just recite the words of the predecessors. You speak too highly of me!" he asked, "Why did you come here, sir?" Hidden Truth smiled, "Tonight is the reunion time of Mid Autumn Festival. You lodged with a monk's room alone. So I come to invite you to have a drink with me. What do you think?"--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 10:51, 21 November 2021 (UTC)

"Why did you come here, master?"
You are lodged with a monk's room alone. --[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 02:18, 29 December 2021 (UTC)

==颜莉莉 Yán Lìlì 国别女 202120081537==

雨村听了，并不推辞，便笑道：“既蒙谬爱，何敢拂此盛情！”说着，便同士隐复过这边书院中来了。须臾茶毕，早已设下杯盘，那美酒佳肴，自不必说。

Hearing this, Rainvillage Merchant did not refuse, but said with a smile: "Since I am indebted to you, I dare not live up to this feeling." Then he and Hidden Truth came to the academy here. In a moment they had finished their tea, and a feast had already been set up, with wine and food, in which the delicacy was all.

They went to the court in front of Hidden Truth 's study. Soon they had fin rished their tea and sat down to a collation of choice wine and delicacies.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 11:36, 28 November 2021 (UTC)

==颜子涵 Yán Zǐhán 国别女 202120081538==

二人归坐，先是款酌慢饮；渐次谈至兴浓，不觉飞觥献斝起来。当时街坊上家家箫管，户户笙歌；当头一轮明月，飞彩凝辉。二人愈添豪兴，酒到杯干。

At first, they drank slowly,but their spirits rose as they talked and they began to drink more recklessly. At that time, Flutes and strings can be heard everywhere and every family in the neighborhood was singing; When a bright moon rises, The two became more and more cheerful, and the wine dried cup up.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 14:26, 27 November 2021 (UTC)

At first, they drank slowly,but their spirits rose as they talked in depth， they began to drink more recklessly. At that time, the sound of flutes and strings can be heard everywhere and every family in the neighborhood was playing and singing; When a bright moon rises, The two became more and more cheerful and drained cup after cup.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 11:39, 28 November 2021 (UTC)

==阳佳颖 Yáng Jiāyǐng 国别女 202120081540==

雨村此时已有七八分酒意，狂兴不禁，乃对月寓怀，口占一绝云：时逢三五便团圆，满把清光护玉栏。天上一轮才捧出，人间万姓仰头看。士隐听了，大叫：“妙极！弟每谓兄必非久居人下者，今所吟之句，飞腾之兆已现，不日可接履于云霄之上了。可贺，可贺！”

Rainvillage Merchant, eight-tenths drunk, cannot suppress his high spirits. As he gazed at the moon, he fostered thoughts, to which he gave vent by the recital of a double couplet.

"On the fifteenth the moon is full, Her pure rays fill the court; As her bright orb sails up the sky, All men on earth gaze upwards at the sight."

"Excellent!" cried Hidden Truth with a loud voice, after he had heard these lines; "I have repeatedly maintained that it was impossible for you to remain in a subordinate position for a long period, and now the verses are a prognostic of your rapid advancement. In a few days you will extend your footsteps far above the clouds! Let me congratulate you."！

Rainvillage Merchant, eight-tenths drunk, cannot suppress his elation. As he gazed at the moon, he improvised a poetry to the moon and declaimed it:

"On the fifteenth the moon is full, Her pure rays fill the court; As her bright orb sails up the sky, All men on earth gaze upwards at the sight."

"Excellent!" cried Hidden Truth with a loud voice, after he had heard these lines; "I have repeatedly maintained that it was impossible for you to remain in a subordinate position for a long period, and now the verses reveals your rapid advancement. In a few days you will extend your footsteps far above the clouds! Let me congratulate you."！--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 04:36, 28 November 2021 (UTC)

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

乃亲斟一斗为贺。雨村饮干，忽叹道：“非晚生酒后狂言，若论时尚之学，晚生也或可去充数挂名。只是如今行李路费，一概无措，神京路远，非赖卖字撰文，即能到得。”士隐不待说完，便道：“兄何不早言？弟已久有此意，但每遇兄时，并未谈及，故未敢唐突。今既如此，弟虽不才，‘义利’二字，却还识得。且喜明岁正当大比，兄宜作速入都，春闱一捷，方不负兄之所学。其盘费馀事，弟自代为处置，亦不枉兄之谬识矣。”

Hidden Truth filled another large cup of alcohol. Rainvillage Merchant tossed it off and then signed. "Don't think this is just a talk after being drunk," he said, "I'm sure I could acquit myself quite creditably in the examinations, but I have no money in my wallet for my travelling expenses and the capital is far away. I can't raise enough money by selling my words and articles ...." "Why didn't you say so before?" interjected Shiyin. "I've always thought about this, but since you never mentioned it it is inappropriate for me to mention this subject. If that's how things are, dull as I am at least I know what's due to a firend. Luckily the Metropolitan Examinations are coming up next year. You must go as fast as you can to the capital and prove your learning in the Spring Test. I shall take it an honor to take care of the travelling expenses and other business for you."--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 04:28, 28 November 2021 (UTC)

Hidden Truth filled another large cup of alcohol for congratulation. Rainvillage Merchant tossed it off and then sighed: "Don't think this is just a talk after drinking. I'm sure I could acquit myself quite creditably in the examinations, but I have no money in my wallet for my travelling expenses and the capital is far away. I can't raise enough money only by selling my words and articles ...." "Why didn't you say that before?" interjected Hidden Truth. "I've always thought about this, but since you never mentioned it.It is inappropriate for me to mention this subject. If that's how things are, dull as I am at least I know what's due to a real friend. Luckily the Metropolitan Examinations are coming up next year. You must go as fast as you can to the capital and prove your learning in the Spring Test. I shall take it an honor to take care of the travelling expenses and other business for you."--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 11:43, 28 November 2021 (UTC)

==杨堃 Yáng Kūn 法语语言文学女 202120081542==

当下即命小童进去，速封五十两白银并两套冬衣。又云：“十九日乃黄道之期，兄可即买舟西上。待雄飞高举，明冬再晤，岂非大快之事！”雨村收了银、衣，不过略谢一语，并不介意，仍是吃酒谈笑。

Hidden Truth immediately ordered the child to go in and quickly seal fifty liang silver and two sets of winter clothes. And he also said, "the 19th of March is the time of the zodiac, and you can buy a boat to the west. Isn't it a great pleasure to wait for triumph of the war[1] and meet again the next winter?" Rainvillage Merchant received the silver and clothes, but he thanked Hidden Truth a little. He didn't mind and was still drinking wine, talking and laughing.

[1]The war between Li Zicheng and the emperor Chongzhen. On March 19 of the lunar calendar in 1644, Emperor Chongzhen of the Ming Dynasty hanged himself. Then, Li Zicheng entered Beijing to overthrow the Ming Dynasty.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:23, 21 November 2021 (UTC)

Shiyin immediately ordered the child in and seal fifty liang silver and two suits of winter clothes quickly. Then he said, "the 19th of March is favorable time, and you can buy a boat to the west. Isn't it a great pleasure to wait for triumph of the war[1] and meet again the next winter?" Yucun received the silver and clothes, but he thanked Shiyin a little. He didn't mind and was still drinking wine, talking and laughing.

[1]The war between Li Zicheng and the emperor Chongzhen. On March 19 of the lunar calendar in 1644, Emperor Chongzhen of the Ming Dynasty hanged himself. Then, Li Zicheng entered Beijing to overthrow the Ming Dynasty.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 12:15, 23 November 2021 (UTC)

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

那天已交三鼓，二人方散。士隐送雨村去后，回房一觉，直至红日三竿方醒。因思昨夜之事，意欲写荐书两封与雨村，带至都中去，使雨村投谒个仕宦之家，为寄身之地。

Jia Yunchun and Zhen Shiyin drank until midnight and then dispersed. Zhen Shiyin sent Jia Yuchun bedchamber and went back his room to sleep. He didn't wake up until the late morning. Considering Zhen Shiyin's bad conditions, Zhen Shiyin intended to write two recommendation letters for Jia Yuchun, so Jia Yuchun could take and deliver it to a family of dignities in Qi Zhou city to find a place to stay.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 06:10, 25 November 2021 (UTC)

These two friends drank until midnight and then left. Zhen Shiyin sent Jia Yuchun back to his bedchamber and headed back to sleep. He didn't wake up until the noon time. Zhen Shiyin intended to write two recommendation letters for Jia Yuchun considering his bad condition, so Jia Yuchun could take and deliver it to some family of dignities in Qi Zhou city to find a fine place to settle.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 05:11, 29 November 2021 (UTC)

==叶维杰 Yè Wéijié 国别男 202120081544==

因使人过去请时，那家人回来说：“和尚说：贾爷今日五鼓已进京去了，也曾留下话与和尚转达老爷，说：‘读书人不在黄道黑道，总以事理为要，不及面辞了。’”士隐听了，也只得罢了。真是闲处光阴易过，倏忽又是元宵佳节。

The family came back and said, “The monk said: The Five Drums of Master Jia has entered Beijing today, and he also left a message with the monk to convey to the master, saying:'The scholar is not in the zodiacal and underworld, and he always takes affair as the priority. , It's too late to resign.'" Shiyin listened and had no choice but to leave. It's really easy to spend leisure time, and suddenly it is the Lantern Festival.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 13:21, 28 November 2021 (UTC)

When the family came back, they said, "The monk said that Master Merchant had gone to the capital between three and five o'clock today, and had left a message for the monk to convey to you, saying, 'No matter what the background of a scholar is, it is always important to take care of things, so it is too late to say goodbye.'" When Hidden Truth heard this, he had no choice but to do nothing. It was easy to spend time at leisure, and suddenly it was the Lantern Festival again.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 13:36, 28 November 2021 (UTC)Yi Yangfan

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

士隐令家人霍启抱了英莲，去看社火花灯。半夜中霍启因要小解，便将英莲放在一家门槛上坐着。待他小解完了来抱时，那有英莲的踪影。

Zhen Shiyin asked his family member Huo Qi to carry Yinglian and go to see the lanterns. In the middle of the night, Huo Qi had to take a piss, so he left Yinglian sitting on the threshold of a door. When he came to carry her after taking a piss, there was no sign of Yinglian.

Hidden Truth asked his family member trouble beginner to carry Pity Zhen and go to see the lanterns. In the middle of the night, trouble beginner left Pity Zhen alone sitting on the threshold of a door because of the urgency of urinating. When he came back, Pity Zhen disappeared.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 09:11, 27 November 2021 (UTC)

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

急的霍启直寻了半夜，至天明不见。那霍启也不敢回来见主人，便逃往他乡去了。那士隐夫妇见女儿一夜不归，便知有些不好。再使几人去找寻，回来皆云影响全无。

Huo Qi was so anxious that he looked for her all night and did not find her by dawn. So he did not dare to return to meet the host and he fled to his hometown. Mr. and Mrs. Shi Yin felt something is about to go wrong when they found their daughter didn't go home all night. They sent more people to look for her, but when they came back they said they didn't have any trace of her.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 14:22, 21 November 2021 (UTC)

Being so anxious, Huo Qi looked for her all night but in vain till dawn. Dare not to return to his master, he fled to another place. Mr. and Mrs. Shi Yin felt something wrong when their daughter didn't go home all night. More people were sent to look for her, but only to find no trace of her.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 14:11, 22 November 2021 (UTC)

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

夫妻二人半世只生此女，一旦失去，何等烦恼，因此昼夜啼哭，几乎不顾性命。看看一月，士隐已先得病，夫人封氏也因思女搆疾，日日请医问卦。不想这日三月十五，葫芦庙中炸供，那和尚不小心，油锅火逸，便烧着窗纸。

The couple, having spent half of their lifetime, couldn't bear the thought of losing their only child. They wept day and night, almost risking their lives. In January, Shi Yin was already sick, and his wife Feng shi also fell ill for missing her daughter excessively and had to see doctors and fortunetellers everyday. Unfortunately, on March 15, when frying tributes in the calabash Temple, the careless monk let the fire escape from the oil boiler, which set the window paper on fire.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 14:57, 22 November 2021 (UTC)

The couple, having spent half of their lifetime, couldn't bear the annoyance of losing their only daughter. They wept all days and nights, almost risking their lives. In January, Hidden Truth was already sick, and his wife Feng also got ill for missing her daughter excessively and had to call the doctors and fortunetellers everyday. Unfortunately, on March 15, when frying tributes in the calabash Temple, the careless monk let the fire escape from the oil boiler, which set the window paper on fire.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 12:11, 28 November 2021 (UTC)

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

此方人家俱用竹篱木壁，也是劫数应当如此，于是接二连三，牵五挂四，将一条街烧得如火焰山一般。彼时虽有军民来救，那火已成了势了，如何救得下，直烧了一夜方熄，也不知烧了多少人家。只可怜甄家在隔壁，早成了一堆瓦砾场了，只有他夫妇并几个家人的性命不曾伤了，急的士隐惟跌足长叹而已。

This family deserves this fate for using bamboos and wood as hedge. One by one, the whole street burnt like the Mountain of Flames. At that time, though the army and people came for rescue, the fire had already been too large to put out. It didn't burn until the morning. It cannot be estimated that how many houses had been destroyed. Poor Hiden Truth's house next door had turned into a pile of rubble, only the couple and the families unhurt, which made Hidden Truth anxious and sigh deeply.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 14:44, 22 November 2021 (UTC)

This family deserved this fate for using bamboos and wood as hedge. One house by one house, the whole street burnt like the Mountain of Flames. At that time, though the army and people came for rescue, the fire had already been too large to put out. It didn't burn until the morning. It cannot be estimated that how many houses had been destroyed. The fire had turned Poor Zhen's house next door into a pile of rubble, only the couple and several families unhurt, which made Zhen Shiyin anxious and sigh deeply.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 10:47, 24 November 2021 (UTC)

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

与妻子商议，且到田庄上去住。偏值近年水旱不收，贼盗蜂起，官兵剿捕，田庄上又难以安身。只得将田地都折变了，携了妻子与两个丫鬟，投他岳丈家去。

He discussed with his wife, and went to live on the farm. However, in recent years, harvests have been ruined by flood and drought, and thieves and robbers have been rising. It was difficult to settle down on the farm. He had to sell his lands at a discount and took his wife and two maids to seek his father-in-law's help.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 10:42, 24 November 2021 (UTC)
Take counsel with his wife, and come to live at the Grange. Partial value in recent years flood and drought do not harvest, thieves bee, officers and soldiers suppression, the grange and difficult to live. He had to change the land and went to his husband's house with his wife and two maids.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 12:22, 28 November 2021 (UTC)

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

他岳丈名唤封肃，本贯大如州人氏，虽是务农，家中却还殷实。今见女婿这等狼狈而来，心中便有些不乐。幸而士隐还有折变田产的银子在身边，拿出来托他随便置买些房地，以为后日衣食之计。

His father-in-law's name was Feng Su. His native place was Such State. Although he was a farmer, his family was well off. Now, seeing her son-in-law come in such a discomfiture, I felt unhappy. Fortunately, there are hidden converted field of silver in the side, took out to entrust him to buy some premises, that the day after the means of food and clothing.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 10:19, 21 November 2021 (UTC)

His father-in-law's name was Feng Su, who was originally from Daru State. Although he was a farmer, his family was well off. Now, seeing his son-in-law come in such a discomfiture, he felt unpleasant inside. Fortunately, there are hidden silver of converted field by his side, so he took it out to entrust him to purchase some premises for buying food and clothing in the future.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 11:40, 28 November 2021 (UTC)

==张扬 Zhāng Yáng 国别男 202120081551==

那封肃便半用半赚的，略与他些薄田破屋。士隐乃读书之人，不惯生理稼穑等事，勉强支持了一二年，越发穷了。封肃见面时，便说些现成话儿；且人前人后，又怨他不会过，只一味好吃懒做。

Feng Su made money while using some of it, and provided small fields and a shabby house with him. Shi Yin was a scholar and was not used to farming and other handworks. He reluctantly struggled for a year or two and became poorer and poorer. When Feng Su met him, he said something ready-made. But behind Shiyin's back, he complained that he couldn't live his life well by just being lazy.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 11:34, 28 November 2021 (UTC)

Feng Su made money while using some of it, and provided small fields and a shabby house with him. Hidden Truth was a scholar and was not used to farming and other handworks. He reluctantly struggled for a year or two and became poorer and poorer. When Feng Su met him, he said something ready-made. But behind Shiyin's back, he complained that he couldn't live his life well by just being lazy.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 12:15, 28 November 2021 (UTC)

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

士隐知道了，心中未免悔恨；再兼上年惊唬，急忿怨痛：暮年之人，那禁得贫病交攻，竟渐渐的露出那下世的光景来。可巧这日拄了拐，扎挣到街前散散心时，忽见那边来了一个跛足道人，疯狂落拓，麻鞋鹑衣，口内念着几句言词道：

When Hidden Truth found out about this, he felt remorse in his heart; he was also frightened of the previous year, and he felt angry and resentful: a man in his twilight years, who could not help being attacked by poverty and illness, was gradually revealing the scene of his next life. It happened that when he was on crutches, he went to the street for a walk, and suddenly he saw a crippled Taoist, crazy and untidy, with sackcloth shoes and quails, reciting a few words under his breath.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 02:26, 22 November 2021 (UTC)

When Hidden Truth found out this, he felt remorse in his heart; he was also frightened of the previous year, angry and resentful: a man in his twilight， who could not be able to be attacked by poverty and illness, was gradually revealing the scene of his next life. It happened that when he was on crutches, he went to the street for a walk, and suddenly he saw a crippled Taoist, crazy and untidy, with ragged shoes and clothes，reciting a few words under his breath.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 07:00, 22 November 2021 (UTC)

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

世人都晓神仙好，惟有功名忘不了。古今将相在何方？荒冢一堆草没了。世人都晓神仙好，只有金银忘不了。终朝只恨聚无多，及到多时眼闭了。

The common people know that immortals are good, but they can't forget their achievements and fame. Where are the generals and prime ministers from ancient times to the present？What we can see are just deserted graves full of grass. The common people know that immortals are good, but they can‘t forget gold and silver. Till the end of life，they would regret their inability to create as much wealth as possible when they are alive and regret they are going to the heaven after they have accumulated plenty of wealth.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 02:42, 21 November 2021 (UTC)

All the common people know that immortals are good, but they can't forget their achievements and ambitions. Where are the great ones of old？They are just deserted graves full of grass. All the common people know that immortals are good, but they can‘t forget gold and silver. They grub for money all their lives until death seals up their eyes.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 07:24, 21 November 2021 (UTC)

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

世人都晓神仙好，只有姣妻忘不了。君生日日说恩情，君死又随人去了。世人都晓神仙好，只有儿孙忘不了。痴心父母古来多，孝顺子孙谁见了？

All men want to be immortals, but dote on the wives they’ve married. Those who swear to love their husband forever, but remarry as soon as he’s dead. All men want to be immortals, but dote on the sons they’ve gotten. Although infatuated parents are numerous, who ever saw really filial sons or daughters?--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 02:05, 21 November 2021 (UTC)

Everyone in the world knows that the gods are good, but only the pretty wife can't forget. You swear to remember your husband’s kindness, but when your husband die, you go away with others. Everyone knows that the gods are good, but only the children and grandchildren cannot be forgotten. There are many loving parents in the past, but who has seen the filial children?--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 09:04, 22 November 2021 (UTC)

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

士隐听了，便迎上来道：“你满口说些什么？只听见些‘好’、‘了’，‘好’、‘了’。”那道人笑道：“你若果听见‘好’、‘了’二字，还算你明白。可知世上万般，好便是了，了便是好：若不了，便不好；若要好，须是了。我这歌儿便叫《好了歌》。
When the hermit heard it, he came up and said, "What are you talking about ?" I just hear 'Hao’ (means good), 'Liao' (means end) 'Hao’, ‘Liao'. The man laughed, "If you hear the words 'Hao' and 'Liao', you understand it. In this world, good is end, and the end is good. If there is no end, there is no good, and vice versa. My song is called ‘The Song of ‘Hao’ and ‘ Liao’. ”--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 08:54, 22 November 2021 (UTC)

Hidden Truth came over after heard this and said: “ What are you talking about? I just hear the words ‘good’ and ‘end’.” That man laughed, “ You heard the words ‘good’ and ‘end’, that means you got a few things going for you. In this world, good is end, and end is good. If there is no end, there is no good, and vice versa. My song is called ''All Dood Things Must End''.”--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 12:19, 22 November 2021 (UTC)

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

士隐本是有夙慧的，一闻此言，心中早已悟彻，因笑道：“且住，待我将你这《好了歌》注解出来何如？”道人笑道：“你就请解。”士隐乃说道：陋室空堂，当年笏满床。

So intelligent, Hidden Truth understood the essence of the song entirely in his head as soon as he heard it, and said: “ Wait a minute. How about I explain your song ''All Good Things Must End'' ？” The Taoist priest said, laughing : “ Would you please explain.” Hidden Truth then explain: “ The empty and dilapidated rattraps we see today, were the grand mansions full of beds and boards used by dignitaries at that time.”--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 08:01, 22 November 2021 (UTC)

So intelligent as Hidden Truth is, he understood the essence of the song entirely in his head as soon as once hearing it, and said: “ Wait a minute. How about I explain your song ''All Good Things Must End'' ？” The Taoist priest said, laughing : “ Would you please explain.” Hidden Truth then explain: “ The empty and dilapidated rattraps we see today, were the grand mansions full of boards used by courtiers at that time.”--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:23, 23 November 2021 (UTC)

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

衰草枯杨，曾为歌舞场。蛛丝儿结满雕梁，绿纱今又在蓬窗上。说甚么脂正浓，粉正香，如何两鬓又成霜？
Humble hovels and abandoned halls where courtiers once paid daily calls；Bleak places where weeds and trees scarcely thrive
were once with a show of peace and prosperity．When cobwebs cover the mansion’s gilded beams，and collage casement with choice muslin gleams．Would you of perfumed elegance recite? Even as you speak, the raven locks turn white．--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:06, 23 November 2021 (UTC)

Withered grass and withered poplar, This used to be a place where people sang and danced. The spider silk is full of carved beams, but the green gauze is on the simple window. The fat is thick and the powder is fragrant, how the temples become the color of frost?--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 15:20, 25 November 2021 (UTC)

==周清 Zhōu Qīng 法语语言文学女 202120081558==

昨日黄土陇头埋白骨，今宵红绡帐底卧鸳鸯。金满箱，银满箱，转眼乞丐人皆谤。正叹他人命不长，那知自己归来丧。

Yesterday the bones were buried in the loess, and the mandarin ducks(allusions to couples) lie under the red silk tent tonight. Boxes full of gold, boxes full of silver, everyone yelled and insulted beggars in a blink of an eye. I'm sighing that the lives of others are not long, and I know I'm back to be mourned.

Yesterday the bones were buried in the loess, then tonight it is the time for a newly married couple to sleep behind bed curtains with burning red candle lights.Boxes full of gold, boxes full of silver, everyone yelled and insulted beggars in a blink of an eye. I'm sighed that the lives of others are not long, but failed to predict my own future after return from the funeral.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 11:36, 28 November 2021 (UTC)

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

训有方，保不定日后作强梁；择膏粱，谁承望流落在烟花巷。因嫌纱帽小，致使锁枷扛；昨怜破袄寒，今嫌紫蟒长。乱烘烘，你方唱罢我登场，反认他乡是故乡。

Though she was well educated according to her parent's plan, one can become a bandit later. She tried her best to marry into a rich family. However, she ended up in a (red-light)? district beyond everyone's expectation. People who are not satisfied with their positions have to spend the rest of their life in a prison in chains. People who used to be very poor and used worn coats to resist the cold were not satisfied with fancy clothes after they became rich. I come on the stage as soon as you have finished your singing in a chaotic manner. Taking other's hometown as my own. --[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 11:42, 22 November 2021 (UTC)--[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 16:56, 23 November 2021 (UTC)

If properly educated under parents' guidance, one can probabaly become a bandit later. Although trying her best to marry a rich man, she ends up with a driftage in the red-light district beyond everyone's expectation. People's unsatisfication with their positions leads to their miserable life in prison with chains on their bodies. People who used to be very poor and used worn coats to resist the cold were not satisfied with gorgeous clothes any more when they became rich. In noisy disorder, you just finished and I come on the scene.Instead, taking other's hometown as my own.--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 15:17, 25 November 2021 (UTC)

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

甚荒唐，到头来，都是为他人作嫁衣裳。那疯跛道人听了，拍掌大笑道：“解得切，解得切！”士隐便说一声：“走罢。”

It's so ridiculous. In the end, they made wedding clothes for others. Hearing this, the crazy lame Taoist clapped his hands and laughed, saying "All right, all right !" Then Shiyin said, "let's go."

It's ridiculous. In the end, they make wedding clothes for others. The crazy lame Taoist listened, clapped his hands and laughed and said, "it's right, it's right!" Shiyin said, "let's go."--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 11:43, 21 November 2021 (UTC)

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

将道人肩上的搭裢抢过来背上，竟不回家，同着疯道人飘飘而去。当下哄动街坊，众人当作一件新闻传说。封氏闻知此信，哭个死去活来。

He grabbed the lap on the Taoist's shoulder and carried it on his back. He didn't go home and floated away with the crazy Taoist. At that moment, the neighborhood was stirred up and everyone regarded it as a news legend. When Feng heard this letter, he cried to death.--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 11:34, 21 November 2021 (UTC)

==Nadia 202011080004==

只得与父亲商议，遣人各处访寻，那讨音信。

==Mahzad Heydarian 玛莎 202021080004==

无奈何，只得依靠着他父母度日。

He was so helpless that he had to rely on his parents to survive.

==Mariam toure 2020GBJ002301==

幸而身边还有两个旧日的丫鬟伏侍，主仆三人，日夜作些针线，帮着父亲用度。

==Rouabah Soumaya 202121080001==

那封肃虽然每日抱怨，也无可奈何了。
Although Feng Su complained every day, he was helpless

==Muhammad Numan 202121080002==

这日那甄家的大丫鬟在门前买线，忽听得街上喝道之声。
The other day, the eldest maid of the Chen family was buying thread at the door when she heard a shout from the street.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 14:50, 23 November 2021 (UTC)

==Atta Ur Rahman 202121080003==

众人都说：“新太爷到任了。”
Everyone said: "The new grandfather has arrived"

==Muhammad Saqib Mehran 202121080004==

丫鬟隐在门内看时，只见军牢、快手一对一对过去，俄而大轿内抬着一个乌帽猩袍的官府来了。
When the maid concealed in the door, she saw the military jail and quick hands passing one by one, and the official mansion carrying a black hat and ape robe came in the big sedan chair.

==Zohaib Chand 202121080005==

那丫鬟倒发了个怔，自思：“这官儿好面善，倒像在那里见过的。”

<nowiki>Insert non-formatted text here</nowiki>
The maid was startled, and thought to herself: "This official is so good-natured, but it looks like someone I've seen there."

==Jawad Ahmad 202121080006==

于是进入房中，也就丢过，不在心上。

Then she went into the room and laid the matter aside ，without taking it to heart.

==Nizam Uddin 202121080007==

至晚间正待歇息之时，忽听一片声打的门响，许多人乱嚷，说：“本县太爷的差人来传人问话！”

English:
When I was about to rest in the evening, I heard a bang on the door suddenly, and many people shouted in disorder, saying, "The county's grandfather's messenger is here for questioning!"

==Öncü 202121080008==

封肃听了，唬得目瞪口呆。

Fengsu hear it,he gaped in consternation --[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 13:28, 22 November 2021 (UTC)

==Akira Jantarat 202121080009==

不知有何祸事，且听下回分解。

Don't know something calamity happened, will describe in the ensuing chapter.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 06:36, 21 November 2021 (UTC)

If you don't know what calamity took place, listen to the break down given in the next chapter.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 12:54, 21 November 2021 (UTC)

==Benjamin Wellsand 202111080118==

通灵──“通灵宝玉”的简称。Psychic--short for ''Psychic Treasure.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 12:48, 21 November 2021 (UTC)

Psychic -- the abbreviation for "Psychic Treasure". --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 03:35, 24 November 2021 (UTC)

==Asep Budiman 202111080020==

亦即下文所说女娲炼石补天所剩的那块“顽石”，因其历经锻炼而“灵性已通”，并能幻化为贾宝玉，故称。

That is to say, the "stubborn stone" left by Nüwa's refining stone to replenish the sky. As it has undergone training, it has "spiritual achievement" and can be transformed into Jia Baoyu, so it is called. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 03:48, 24 November 2021 (UTC)

That is to say, the "stubborn stone" left by Nüwa's refining stone to replenish the sky, because it has undergone training, has "spiritually achieved" and can be transformed into Jia Baoyu, so it is called.--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 06:10, 24 November 2021 (UTC)Ei Mon Kyaw

==Ei Mon Kyaw 202111080021==

《石头记》──此书的本名。
"Story of the Stone" - the original name of the book. --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 06:26, 24 November 2021 (UTC)Ei Mon Kyaw

20211229 homework

2021-12-27T14:25:53Z

Wei Zhaoyan: /* 魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学）女 202120081528 */

History of Translation Theories

2021-12-22T12:19:28Z

Wei Zhaoyan: /* The Humanistic Trend in Western Translation Theory from the 14th to the 19th Century */

History of Translation Theories

2021-12-22T12:17:56Z

Wei Zhaoyan: /* A Brief Introduction to Translation Theories of Ancient Rome */

History of Translation Theories

2021-12-22T12:17:13Z

Wei Zhaoyan: /* 12 魏兆妍 The Humanistic Trend in Western Translation Theory from the 14th to the 19th Century */

Hist Trans Theo EN 12

2021-12-22T12:15:39Z

Wei Zhaoyan: /* 12 魏兆妍 The Humanistic Trend in Western Translation Theory from the 14th to the 19th Century */

'''History of Translation Theories'''

[[History_of_Translation_Theories|Overview Page of History of Translation Theories]]

30 Chapters（0/30)

[[Hist_Trans_Theo_EN_1]] [[Hist_Trans_Theo_EN_2]] [[Hist_Trans_Theo_EN_3]] [[Hist_Trans_Theo_EN_4]] [[Hist_Trans_Theo_EN_5]] [[Hist_Trans_Theo_EN_6]] [[Hist_Trans_Theo_EN_7]] [[Hist_Trans_Theo_EN_8]] [[Hist_Trans_Theo_EN_9]] [[Hist_Trans_Theo_EN_10]] [[Hist_Trans_Theo_EN_11]] [[Hist_Trans_Theo_EN_12]] [[Hist_Trans_Theo_EN_13]] [[Hist_Trans_Theo_EN_14]] [[Hist_Trans_Theo_EN_15]] [[Hist_Trans_Theo_EN_16]] [[Hist_Trans_Theo_EN_17]] [[Hist_Trans_Theo_EN_18]] [[Hist_Trans_Theo_EN_19]] [[Hist_Trans_Theo_EN_20]] [[Hist_Trans_Theo_EN_21]] [[Hist_Trans_Theo_EN_22]] [[Hist_Trans_Theo_EN_23]] [[Hist_Trans_Theo_EN_24]] [[Hist_Trans_Theo_EN_25]] [[Hist_Trans_Theo_EN_26]] [[Hist_Trans_Theo_EN_27]] [[Hist_Trans_Theo_EN_28]] [[Hist_Trans_Theo_EN_29]] [[Hist_Trans_Theo_EN_30]] ...

[[Book_projects|Back to translation project overview]] [[DCG-To-Do|Zur To-Do-Liste]]

=12 魏兆妍 The Humanistic Trend in Western Translation Theory from the 14th to the 19th Century=
[[Hist_Trans_Theo_EN_12]]

'''The Humanistic Trend in Western Translation Theory from the 14th to the 19th Century'''

'''14世纪至19世纪西方翻译理论中的人文主义思潮'''

Wei Zhaoyan 魏兆妍 Hunan Normal University, China 202120081528

===Abstract===
From the 14th century, Europe began to enter into the Renaissance, and the Christian world view gradually degenerated with the emergence of individual centered humanism. People who submitted to God were regarded as rational and unique individuals, emphasizing their creative potential and giving full play to their talents. With the invention of printing in the 15th century, education and schools began to be open to the public. Reading translated works from different countries was no longer a noble enjoyment. Words and information were transmitted in all directions and more quickly through translation. Translation was called the forerunner of the Renaissance. It can be said that without translation, there would be no European Renaissance and humanistic thought. In Europe, the writers, thinkers and scholars in this period were also translators who knew several languages, and we can see that translation and creation were closely linked. This paper will focus on the humanistic trend in western translation theory from the 14th to the 19th century, and will also enumerate the representative figures and their translation ideas in this period.

===Key words===
Humanistic trend, Western translation theory, Poetics of translation, National and world visions

===摘要===
从14世纪开始，欧洲进入了文艺复兴时期，基督教世界观随着以个人为中心的人文主义的出现而逐渐退化。顺从上帝的人被视为理性而独特的个体，他们强调自己的创造潜力，充分发挥自己的才能。随着15世纪印刷术的发明，教育和学校开始向公众开放。阅读不同国家的翻译作品不再是一种高尚的享受。文字和信息通过翻译向四面八方传播，而且速度更快。翻译被称为文艺复兴的先驱。可以说，没有翻译，就没有欧洲文艺复兴和人文思想。在欧洲，这一时期的作家、思想家和学者也是通晓多种语言的翻译家，可见翻译与创作是紧密相连的。本文将着重探讨14世纪至19世纪西方翻译理论中的人文主义思潮，并列举这一时期的代表性人物及其翻译思想。

===关键词===
人文主义思潮；西方翻译理论；翻译诗学；民族与世界视野

===1. Introduction===

From the 14th century, Europe began to enter into the Renaissance. Dante, the last poet in the middle ages, completed ''The Divine Comedy'' in 1321. In Dante's mind, all human life experience, including life and death, must be explained by Christian faith in order to show its meaning and significance. This Christian worldview gradually degenerated with the emergence of individualism-centered humanism. All beings who submitted to God were regarded as rational, unique and creative individuals. In the past years, translators were servants attached to God. Now they have shifted from God to focusing on the translator. Personal development has become the goal and value of life. Although humanist thinkers, writers and translators still maintain the Christian faith, they put more emphasis on personal creative potential and give full play to people's strengths. The focus of translation activities in this period also shifted from the classics of the Christian Church to the translation of more secular humanistic works.

With the invention of printing in the 15th century, education and schools began to be open to the public. Reading translated works from different countries was no longer a noble enjoyment. Through the wings of translation, words and information were transmitted in all directions and more quickly. For example, Marco Polo (1254-1324) told the story of his travels in China, which spread all over the European continent through printed words. The invention of printing not only brought about a cultural revolution, but also a sharp increase in the number of translations. Translation is known as the forerunner of the Renaissance. It can be said that without translation, there would be no European Renaissance and humanistic thought. Take the role of translation in English literature for example: "Translation played a great role in the British Renaissance: first, as a pioneer, it was countless translated works that first caused the mental climate of humanism. Second, translation was still active in the era of the restoration of the king's government, but attention has turned to French works. In the intervening years, that is, in the half century from 1558 to 1603 when Queen Elizabeth was in office, translation activities were more frequent, and famous translations also appeared the most frequently, which constituted a translation climax in the whole history of English literature. " In the Queen Elizabeth era, translation reached an unprecedented prosperity, and good translations of famous works continued to emerge. In the following 17th to 18th centuries, neoclassical literary translation surpassed the previous stage. Translation was particularly important to the development of modern English language, literature and culture. (Wang Zuoliang, He Qishen 1996: 72）

In Europe, the writers, thinkers and scholars in this period were translators who knew several languages, translation and creation were closely linked. A large number of scholars and poets have expressed their opinions on translation. From the 14th to the 16th century, the most representative was Dante's "untranslatability of literature" in Italy (1265-1321); Erasmus of the Netherlands (1466 - 1536) relied on the translator's language knowledge in the translation of ''The Bible''; The translation of German Luther (1482 - 1546) must adopt the language of the people; The translators in Dore’ s mind (1509-1546) in France must understand the original content, be proficient in two languages, avoid word for word translation, adopt popular form and pay attention to the "five translation principles" of beautiful style; Poetry translation in English Chapman' s(1559-1634) mind can not be stiff translation, and the poetry translation method of "rebuilding a new image" can be used.

From the 17th to the 19th century, the representative figures were as follows. Abranco of France: the translation method of “the beautiful unfaithful ones” which emphasized literariness and readability; Bartow (1731-1780) : accurate translation view of "the author is the master and the translator is the servant"; Dryden (1747-1841) of England: three translation principles of "literal translation, free translation and imitation translation"; Tytler (1747-1814): three translation principles of "the translation must completely reproduce the thought of the original work: the style and tone of the translation must be consistent with the characteristics of the original; the translation must be as smooth as the original." ; Humanistic thinker Herder (1744-1830) of German Romanticism: made a pioneering thinking on the language, nationality and the characteristics of relativism in translation. Goethe (1749-1832) of German: called the translator as "the prophet of the people"; Humboldt (1767-1835): expressed the views on translatability and untranslatability which had a great impact on the 20th century. The foreignization translation method of Schleiermacher (1768-1834) in the later stage has influenced the deconstructive translation theory of the 20th century. For the above representative figures and different translation views, this paper will focus on the humanistic trend and enumerate some of the representatives according to the development sequence of the history of western translation theory.

===2. The "Rebels" Who Change the Traditional Concept of Translation===
Since Jerome, the debate between literal and free translation has begun in the west. The dispute between them actually involves the question of whether translation should be equivalent to the original text, that is, faithfulness, which is also a thread running through western translation theory for more than 2000 years. Since the Renaissance, people have become more and more aware of their own subjectivity, but religious influence is everywhere all the time. As a translator, if he has any unconventional translation behavior, he may be persecuted by spirit and body, even lead to death. A history of western translation can be said to be written in the life and blood of translators to a certain extent.

Between 1536 and 1546, three translators died. Two of them were caused by translation work. They were French translation theorist Dolet, religious reformer and translator Martin Luther as well as British translator William Tyndale.
====2.1 Etiene Dolet: Five Principles of Translation====
In the history of western translation theory, the first humanist to systematically expound translation theory was Etiene Dolet(1509-1546). Dolet is a translator, printer and scholar. He is the first translator suffering from translation since the Renaissance. He is a learned, versatile and liberated translator. His interpretation of classics was regarded as walking between orthodoxy and paganism. The European Church has advocated for a long time that the translation of ''The Bible'' should be literal translation, especially the Roman Catholic Church supported the "correct" and conventional translation of ''The Bible'' . Any interpretation and translation that deviated from the classics may be regarded as heresy, criticized and prohibited, and some adventurous interpreters and translators suffered a horrible fate. In 1546, the Theological Seminary of Sorbonne University in France identified that Dolet added the phrase "whereas you will no longer be anything at all" without foundation in the translation of a paragraph about "existence after human death" in Plato's dialogue ''Axiochus'', then he was burned alive at the stake. This paragraph is as follows:

The original text in Greek: Hoti peri men tous zôntas ouk estin, hoi de apothanontes ouk eisin. hôste oute peri se nun estin, ou gar tethnêkas oute ei ti pathois, estai peri se su gar ouk esei.

The French translation by Dolet: Pour ce qu'il est certain que la mort n'est point aux vivants: et quant aux defuncs, ilz ne sont plus: donques la mort les atouches encore moins. Parquoy elle ne peult rien sur toy, car tu n'est pas encores prest à deceder; et quand tu seras décédé, elle n'y pourra rien aussi，attendu que tu ne seras plus ''rien du tou''. (The text in sixteenth century cited by Ballard and Copley Christie)

The translation in English:Since it is certain death is not at all among the living: and as for the dead, they no longer are: therefore, death touches them even less. And hence death can do nothing to you, for you are not yet ready to die, and when you have died, death will also not be able to do anything, since you will no longer be ''anything at all''.

This paragraph by Plato is an obvious atheist view. It is close to the meaning of "how can you know death when you don't know life" (''The Analects of Confucius''). The original Greek version is abstruse and difficult to understand, and there are omissions in many places. It can't be translated without adding cohesive devices. The three words added in italic French and English in the text only play a role in connecting and do not change the meaning of the original text. Dolet's addition was accused of "blasphemy", because such translation was accused of "denying the eternity of the soul", and it was precisely because he "made" this fatal translation "mistake" that he was burned at the age of 37. This accusation was a typical "unnecessary" accusation. As a translator, Dolet only translated the meaning of the original text and did not understand it improperly. The key was that Plato described Aristotle's conversation, Sorbonne's clergy could not blame Plato, so they had to blame Dolet for adding the three French words “rien du tout” (nothing at all) , because these three words could not be found in Greek or Latin, the church accused him of misunderstanding Plato's intention, blaspheming the gods and not believing in eternity. So, the risk of translation arises.

Because Dolet was persecuted by the clergy to death, his "five principles on translation" was cherished by the western translation field. Dolet's "five principles on translation" came from ''The Way of Translating Well from One Language into Another'' (1540) The excerpts of the original text are as follows:

To translate well from one language into another requires in the main five things:

(1)In the first place, the translator must understand perfectly the sense and matter of the author he is translating, although he should feel free to clarifty obscurities.

(2)The translator should have a perfect knowldgwe of boh SL and IL, so as not to lessen the majesty of the language.

(3) The translator should avoid word for word renderings.

(4)The translator should avoid Latinate and unusual forms.

(5)The translator should assemble and liaise words eloquently to avoid clumsiness.(Robinson, Douglas 1997: 95~96)

From the five translation principles put forward by Dolet, he advocated free translation, especially he didn't advocate rigid literal translation and paid attention to the beauty of the translation. Articles 1 and 2 can be regarded as the necessary conditions for translators. The latter three advocate that translators should use fresh language expressions, avoid using rare Greek or Latin words, but use natural and fluent forms in the target language in order to improve the social status and influence of French, Italian, German and Spanish after the disintegration of Latin. These five principles emphasized that the translator cannot follow the master like a slave, being obedient and using word for word translation method which show that the translator is poor in skills and lacks rich lexical expression. In Dolet's view, translation is the translation of meaning, not words. In order to express the author's intention, the translator has the right to adjust and reverse the sentence pattern of the translation.

====2.2 Martin Luther: the Tongue of the Common Man====

Martin Luther (1483-1546) is a German religious reformer and translator in the 16th century. As a translator of the German version of ''The Bible'', he is known as the father of German language and literature. His discussion on translation is mainly recorded in ''The Circular Letter''(1530).

For hundreds of years, people have been used to going to church to listen to ''The Bible'', because under the control of Catholicism, ordinary people have no right to read it by themselves. Luther's translation of the obscure Latin ''Bible'' into contemporary popular German is a great revolution, which is as valuable as his religious revolution. When he translated the language of God into contemporary German, he hoped that the German version of the book would be converted into different dialects, put in people's hands and enter into everyone's heart. Once ''The Bible'' translated by Luther was published, ordinary people directly heard the call of God. Luther believed that the German version he translated must be clear and easy to understand. Therefore, he systematically formulated the translation principles. This popular and fluent translation method aimed to be free from the influence of previous established translations, because free translation was also a weapon for Luther to resist the church. His main translation principles are:

(1) The purpose and the original text that the reader cannot understand should be translated freely.

(2) When translating, we should give priority to the meaning and subject content of the text, and don't stick to the grammar of the original text.

(3) Try to use a language that is easy to understand by ordinary people.

(4) Metaphors and idioms in rhetoric can be translated into non figurative language.

(5) Adhere to the reader centered orientation.

In the use of the target language, Luther did not sanctify the target language, but broke the symbol system of it. Sometimes in order to inject vitality, Luther used the people's oral language to break the coherence of the target language and pay attention to people's personal understanding and personality, which undoubtedly strengthened the social communication of the translation. However, the fluency of the translation was not at the expense of the accuracy. Luther's Bible was also very accurate in information transmission. Because the language used by Luther in translating the Bible was a vivid language loved by the people, his translation was welcomed by the people, and has been spread for a long time. Luther's basic translation principle was “You must ask the mother at home，the children in the street, the ordinary man in the market and look at their mouth, how they speak,and translate that way; then they'll understand and see that you’re speaking to them in German.“ So, easy to understand was the most fundamental purpose of Luther's translation. (Munday, Jeremy 2001: 38.)

====2.3 William Tyndale: A Men Who Has Dedicated His Life to Translation====

During the Renaissance, the Englishman who died for translation is William Tyndale (1494 - 1536). He is the most influential Bible translator in the English language. The three most famous Bibles ——''Geneva Bible'', ''The Douay-Rheims Bible'' and ''The King James' Bible'' in the 16th and 17th centuries are all influenced by the translation of ''Tyndale Bible'', especially ''The King James' Bible''.

Tyndale was born in Gloucestershire, England. He studied at Oxford University in his early years and taught at Cambridge University after graduation. Cambridge's humanistic thought shaped his religious thought. He believed that since religious teachings and practices come from ''The Bible'', it is necessary for British people to read it in their own mother tongue. Inspired by Martin Luther's experience in translating the German version of it, Tyndale was determined to translate an English Bible. At that time, the British Conservatives led by Moore insisted that the law stipulated that the unauthorized translation of ''The Bible'' was punishable by death. Because Tyndale was persecuted by the British church, he had to flee to Germany, where religion was relatively free, to work as a translator. As a humanist, Tyndale exposed the hypocrisy of European religion. The church accused him of "weaving love and vain history and fables to poison young people". In 1536, Tyndale was arrested and burned. All in all, Tyndale's translated works were concise and simple, using popular English words and expressions, which pioneered the generation of English translation of ''The Bible''.

What the enumerated translators have in common is that in order to spread knowledge and distinguish truth, they bravely explore the road that predecessors have not gone through, and can devote their whole life to the sacred cause of translation. At the same time, it can also be said that their translation experience and principles are written with blood and life.

===3. The Incarnation of Muse: Poetics of Translation===
Muse (Μουσαι in Greek, muses in Latin) is the general name of the goddess of science and art in ancient Greek mythology. It was born of the god Zeus and Mnemosyne, the goddess of memory. The number of Muses is uncertain, some people say there are three goddesses and others nine goddesses. Since the Renaissance, European poets, like stars, have lit the sky over Europe. These poets not only make poetry, but also translate classical poetry, seek inspiration from traditional literature and summarize poetry translation theory. This spectacle is unprecedented.

Western classical translation focuses on the works of ancient Greek and Roman poets Homer, Virgil and Ovid. These translations have greatly improved the form and content of European countries, especially British poetry art, and brought new creative techniques and skills. For example, the introduction of English poetry should first be attributed to the translation of sonnets. The original form of fourteen line lyric poem originated from Italy is abbaabba, cdecde (the last six lines can also be cdcdcd). This poetic style has been translated and introduced by Surrey, and then improved by Spencer and Shakespeare to become the English sonnet (abab eded efef gg).

Muse, the goddess of literature and art in the west, is fond of English poets. The translation works of Chapman, Dryden, Pope, Shelley and other poets fully reflect the principle of "translating poetry in the poetic way". Their poetry translation practice and theory have been perfectly combined to form a unique literary translation theory.
====3.1 George Chapman: Decorate the Translation with Beautiful Words====
George Chapman (1559-1634) is an English poet, dramatist and translator. Chapman is famous for translating Homer's ''Iliad'' and ''Odyssey''. His translation inspires the British poet John Keats more than a century later (1815), so he writes ''On First looking into Chapman's Homer'', which becomes a masterpiece through the ages.

He worshipped the warrior hero of the Agamemnon family in Greek mythology all his life, which can be seen in his works. This is one of the reasons why he chose to translate Homer's works. In 1611, he completed the translation of the ''Iliad'' in sonnets. In 1616, he finished translating the ''Odyssey'' in the poetic style of heroic antithesis. His translation has become one of the most popular works in the history of English literature and played a connecting role in the history of literature. For 200 years after its publication, its translation has been the standard English translation of Homer's works. Chapman's theory of translation criticism can be seen from his translation of the preface written in the ''Iliad'':

That those translators stick in, that affect

Their word-for word traditions( where they lost )

The free grace of their natural dialect,

And shame their authors with a forced gloss)

More license from the words than may express

Their full compression, and make clear the author;

From whose truth, if you think my feet digress,

Because I use needful paraphrases...

( Extract from The Preface to the Reader of the Translation of ''Iliad'')

From Chapman' s translation practice and theory, there are several principles worth summarizing: (1) adhere to translating poetry in poetic way. (2) oppose word for word translation and focus on free translation. (3) adopt the "interpretation" method, advocate that the translation should be decorated. (4) translator should try to show the author's intention. Chapman pays equal attention to translation practice and theory. On the one hand, he pays attention to summarizing translation experience, on the other hand, he has clear principles as translation guidance. At the same time, the deep study of Homer's works and the poetic flavor of poetry are also the reasons for his success. Now let's take a look at a passage in his translation of the ''Iliad'':

All grave old man, and soldiers they had been, but for age

Now left the wars; yet Counselors they were exceeding sage

And as in well grown woods, on trees, cold spinier grasshoppers

Sit chirping and send voices out that scarce can piece our ears

For softness and their weaker faint sounds; so( talking on the tower )

These Seniors of the people sat, who, when they saw the power

Of beauty in the Queen ascend, even those cold-spirited peers,

Those wise and almost withered men, found this heat in their years

That they were forced( though whispering )to say: what men can blame.

The Greeks and Trojans to endure, for so admired a Dame,

So many miseries, and so long? (''Iliad'', iii, 159-169)

Chapman’ s translation was concrete and vivid, with abundant emotion. His rhythm was infectious. However, the addition method of Chapman was often criticized. For example, Homer asked Hector to say, "For well I know this in my mind and in my heart, the day will be, when scaled Troy shall perish." Chapman' s poem is:

And such a stormy day shall come，in mind and soul I know，

When scared Troy shall shed her towers, for tears of overthrow. (Wang Zuoliang, He Qishen 1994: 85)

The translation is rhyming, antithetical and neat, but "mind and soul", "storm", "towers" and "teams" are added. Optimistically,the translator has rich imagination. Negatively, the translator's fantasy destroys faithfulness. In any case, Chapman' s translation style is magnificent and beautiful, reflecting the gorgeous rhetoric of the Renaissance translation and the translator's deep literary foundation. No wonder Keats felt like "seeing a new star surge into the horizon" . Homer's style is fresh, simple, clear, direct, vivid and powerful. Chapman strives to reproduce Homer's epic features in diction, sentence making and style. He has practiced poetry translation and summed up translation theory. This was rare in England from the 16th to 17th centuries: "the task of a competent and valuable translator is to abide by the sentences, rhetoric and language forms used by his original author, abide by his true meaning and depth, and then decorate them with rhetoric and language forms suitable for the language of the translation itself." (Wang Zuoliang, He Qishen 1994: 82)

Nevertheless, because Chapman translated Homer's epic in sonnets and tried to create something in phonology, the sonnets still did not conform to the style of Homer's epic, but they made some progress compared with Milton's translation with blank poems. Chapman also translated Ovid' s ''Feast of Sound and Color'' . His free translation method can fully reflect the deep meaning of the original work and was the best way to translate Homer's poetry. Chapman regarded the translation of Homer's epic as a major event in his life and believed that he was born to translate Homer's epic. His poetry translation theory filled the gap of translation theory in the late 16th century and has been inherited and developed by poetry translators from the 17th to 18th centuries.

====3.2 John Denham: Fluent Poetry Translation====

John Denham (1615 - 1669) is the most famous poet and translator in England in the mid-17th century. When he was young, he went to Oxford to study law, but he never worked as a attorney. He becomes famous because he translated the epic ''Aeneas'' written by Virgil, an ancient Greek tragedy. Later, his poetry also makes him famous in the literary world. (Nida, Eugene 1964: 145)

Denham' s translation theory is mainly reflected in his two articles on translation. One is ''To Sir Richard Fanshawe upon his translation of pastor Fido'' (1648), and the other is The preface of his translation of Aeneas, ''The Destruction of Troy'' (1656) He believes that art expresses nature in a harmonious and elegant way, so the translator should go beyond the constraints of form and create a novel translation. The translation of literary works is different from the translation of religious and disciplinary works, the former can be less faithful, and the translation of ''Aeneas'' adopts the method of translating poetry in the poetic way, pays attention to the legal effect of poetry, and has achieved good results.

Specifically, Denham' s translation theories include:

(1) Denham follows a "neoclassicism" path ". The translation method pursues a new translation method, that is, the translator should innovate, especially in the charm of poetry. Translation should give full play to the advantages of the target language. This process of using the target language to accultrate the original text is also the domestication translation method. This innovative translation method is deeply influenced by the free translation method advocated by France in the 17th century, that is, the translation should be beautiful. Although Denham pursues the elegance and beauty of his translation, his translation is basically faithful. His free translation mainly focuses on the artistic conception or "poetry for poetry", rather than the translated vocabulary.

(2) Denham believes that the translator and the author enjoy the same status. As a poet and translator, he believes that the translator has the right to extract the core part from the original text and recreate it in the target language. If there is a key word in Denham's translation theory, it is "fluency", as if the translation is not like the translation, but more like creation. In this way, the sentence pattern of the original text can be rewritten, the unclear meaning can be clarified, the smooth poetic rhythm and form can be used, the irregular structure can be avoided, and the pause can be used to strengthen the coherence of poetic sentence patterns. Denham' s fluent translation makes people feel that reading his translation is not reading the translation, but reading the original English work. Therefore, he is known as "Virgil" in Britain.

(3) The translator has his own choice and motivation. Denham chooses the free translation method and the translation of ''Aeneas'' has its own purpose: the relationship between the king and his descendants in the Trojan story will remind the reader of Britain at that time. He hopes to give cultural support to the English monarch through the translation of such a work. There is an imaginary connection between Troy's pedigree and the defeated Caroline government at that time. This kind of ideological manipulation and rewriting confirms his translation It serves the royalists. Therefore, his translation is very flexible and has more freedom than other translators.

====3.3 John Dryden: Three Principles of Translation====

John Dryden (1631 - 1700), an English poet, translator and dramatist, is the most influential critic in Britain in the 17th century. His literary criticism has influenced the following two centuries. As a translation theorist, his discourse on translation is considered to be the most systematic in western translation theory before the 17th century.

The three translation types (1680) divided by Dryden and the three translation principles (1797) of Tytler all advocated to talk about translation in civilian rather than pretentious academic language, which is why their translation theory is still used today. As the "the first translation theorist" so far, Dryden' s translation views were mainly reflected in the translation of the ''Preface to Ovid' s Epistles''. Dryden classified three types of translation as follows:

All translations,I suppose, may be reduced to these three heads.

(1)First, that of metaphrase，or turning an author word by word, and line by line, from one language into another. Thus, or near this manner, was Horace his ''Art of Poetry'' translated by Ben Jonson.

(2)The second way is paraphrase, or translation with latitude, where the author is kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that is admitted to be amplified, but not altered. Such is Mr. Walter' s translation of Virgil's fourth ''Aeneid''.

(3)The third way is that of imitation, where the translator( if now he has not lost that name) assumes the liberty, not only to vary from the words and sense, but to forsake them both as he sees occasion; and taking some hints from the original, to run division on the groundwork, as he pleases. Such is Mr. Cowley' s practice in turning two Odes of Pindar, and one of Horace, into English.

Among the three translation methods, Dryden is most opposed to Ben Jonson' s word for word translation, that is, literal translation. It is considered that this translation method is like "tis much like dancing on ropes with fed legs", which mechanically imitates the original text, but can not be separated from the constraints of its grammar, sentence pattern and poetic rhythm, so that its semantics is obscure. As for the great freedom of imitation translation, the purpose of the translator is to imitate the previous works in subject content and literary form, neither translated words nor translated meaning. Therefore, literal translation and imitation translation are the two most extreme forms of translation, and translators should take warning. Free translation is the translation method advocated by Dryden. The so-called free translation means that the translator must have a limit of freedom. He should always see the author and not lose his way. From this point of view, Dryden insists that poetry translation must "translate poetry with poetry", that is, the person who translates poetry must be a poet, so that he can understand the charm of the original and better express it in the target language and aesthetic language.

The three classifications of Dryden' s translation have a great influence on the western translation theory in the 20th century. They are an indispensable part of western translation theory. His translation theory represents the peak of the development of English and criticism theory in the 17th century.

====3.4 Alexander Pope: Translation of Homer Epic====

Alexander Pope (1688-1744) is an important poet and translator in the Enlightenment period of the 18th century. His ''An Essay on Criticism'' (744 lines) is written in antithetical verses, expounding the aesthetic principles of classical literature and art, and establishes Pope's position in the history of English literature. Pope became famous for translating Homer's epics and won a reward of 10000 pounds and a great reputation.

Pope's translation of Homer's epic is accused by translation critics of not rhyming and reading like an 18th century Englishman. In other words, Pope's translation of Homer's epic is not so much a reflection of Homer's style as Pope's own style. His translation is full of personal characteristics and idioms. But when discussing translation, Pope said that his translation is better than those full of translation cavity. His main translation views are recorded in the translation preface of the ''Iliad''. Pope's translation theory is very similar to Dryden' s: (1) he advocates free translation and maintains the beauty of poetry translation. (2) it is the sacred mission of the translator not to add or delete arbitrarily in translation. (3) the relationship between literal translation and free translation is dialectical. Literal translation can not reproduce the beautiful meaning of the original text, but it is wrong to make up for it by hasty free translation. (4) servile loyalty to the literal meaning will only damage the poetic style of the original text. (5) the plain and clear style of Homer's epic in modern language is not a lesson. Translation should reflect the main characteristics of the original: when talking about the beauty and defects of the original, we should talk about the translation, which is the embodiment of the main characteristics of it. As long as the main parts of the original poem show the contents such as fables, etiquette and emotion, no translator will save and compress them out of his own prejudice. The same is true for the translation of every image, description and simile. If we save too much translation, it will weaken the main characteristics of the original poem.

In Pope's view, the translator should not only grasp the characteristics of the original text, but also deal with the idioms and metaphors in Homer's epic, strive to reproduce the image of the original text, and can not be arbitrarily deleted due to personal prejudice. The beautiful and noble poetic features of the original text should also be reproduced in the translation. Pope is often criticized for some affectation and arbitrary play. The accusation of the former may be related to Pope's neoclassicism. Arbitrary play is a major feature of some humanist translators.

Generally speaking, Pope adopts the domestication translation method to explain, understand and translate the original work with the poetic concepts of the Enlightenment period, in order to maintain a smooth and natural poetic flavor in the target language. Compared with the other two translators of Homer's epics Chapman and R. lattinmore, Pope's translation is generally very neat and elegant, reproducing the style of neoclassicism. Chapman' s translation is beautiful, while the translation of R. lattinmore, a translator in the 20th century, is fresh and casual. In general, Pope's translation of Homer's epic is neat and reproduces Homer's poetic flavor, charm to a certain extent.

===4. The National and World Visions of Translation===

The 17th century to the 19th century is the climax of the development of modern western translation theory. A large number of writers and translators with world reputation have sprung up in Britain, France and Germany. Generally speaking, the free translation school originated in France in the 17th century and had a great influence on Britain. There were many innovations in translation theory in Britain from the 17th to the 18th century. The discussion at this stage mainly focused on the translation of classical poetry. In Germany, with the emergence of “Stum and Drang, Storm and Stress” and Romanticism in the 18th and 19th centuries, German Conservatism has showed up.

The 19th century, represented by the "Stum and Drang, Storm and Stress", is a period of great development of German Conservatism, represented by the "German Romanticism", which is also a stage of the transition of literary and artistic forms from classicism to Romanticism, which can also be said to be the romanticism in the naive period. The central representatives of this movement are the famous writers Goethe and Schiller. Goethe's ''The Troubles of Young Witt'' is the representative work of this period, expressing the conflict of human inner feelings and the spirit of striving. This movement lasted for nearly 30 years, from 1765 to 1795, and then was replaced by the mature romantic movement. A large number of linguists, writers and translation theorists such as Herder, Goethe, Humboldt, Schleiermacher, Holderlin and Schlegel came on stage one after another. They translated a considerable number of classical works of ancient Greece and Rome, also translated and introduced a large number of works of other European countries (such as the translation of Shakespeare's plays). German literature in this period has won a great reputation all over the world. Due to the participation of the above-mentioned literature, German translation activities and translation research have also reached an unprecedented zenith, which has laid a solid foundation for western translation theory in the 20th century.

====4.1 Language Shapes the National Identity: Johann Gottfried Herder and Wilhelm von Humboldt====

The humanistic thoughts sweeping the whole Europe, such as humanism, classicism, enlightenment, “Stum and Drang, Storm and Stress” and romanticism, make the relationship between European countries closer and closer. These movements provide important conditions and environment for the birth of translation theory. Herder and Humboldt demonstrated the relationship between language, translation and national identity from the perspective of language.

Johann Gottfried Herder (1744 - 1803) is a pioneer of the German rapid movement. As a forerunner of the enlightenment movement, Herder always focuses on how to use translation to transform German literature. In his opinion, the growth of German national literature is inseparable from translation. His views on translation are scattered on the origin of language, on the more recent German literature and other works. These views on language and translation have a great impact on language education and translation circles. From the perspective of language, he believes that speech is invented by man, and language represents rationality: "Without language, man has no reason and without reason no language." Herder's view of language nature opposes taking language as a simple tool and medium. He believes that language is a national organism, which can best reflect the national spirit and national soul (Volksgeist) , is the bond that forms the nation-state. Whoever loses his own language loses his identity and patriotism. Germans should be proud of their language and nation. Herder and Humboldt put forward that language determines thinking, which not only provides a basis for the self hypothesis theory two centuries later, but also gives a view of the uncertainty and untranslatability of translation buried the foreshadowing. (Rousseau, Jean Jacques and John Gottfried Herder 1986: 121)

Herder opposes the deification of language and insists on explaining the generation of language from the perspective of naturalism. He believes that rationality is the key to the origin of language. He tries to provide a natural rather than reductionist explanation for human characteristics and creativity, and seeks the origin of language in human natural characteristics. Herder's natural reductionism is not only used to explain the origin of language, but also the power of natural interpretation is extended to all fields of culture to reflect the characteristics of human creation, such as art, religion, law, etc. Through the power of natural interpretation, they are included in a scientific world outlook. This language turning point fundamental. Its significance is that people begin to pay real attention to the problems of language itself, such as the essence of language, the relationship between language and rationality, how language can be expressed, etc. Then Humboldt inherited and developed Herder's view. Language blindness is no longer just a vassal of rationality, a simple tool. From then on, he began to get out of the influence of theology and gradually formed an independent philosophy of language.

Herder's views had a great impact on Humboldt.

Wilhelm von Humboldt (1767-1835) is the most influential linguist, philosopher and educational reformer in the West.

Humboldt's main translation views are:

(1) Language determines thought and culture. A language is the reflection of real life. Language has unique national characteristics, and the languages of different nationalities reflect their cultural characteristics. Different languages reflect the world outlook of different nationalities. It emphasizes the reaction of language to thinking: language determines thought and mode of thinking, and different languages have different schemata to understand the world. Translation consists of different languages and forms different language schemata. Therefore, equivalence in translation is impossible.

(2) The more you know a language, the greater the distance between nations. This is because different nations have different world views and different language habits. From this point of view, because we are aware of the great differences between different languages, we believe that it is impossible to achieve complete equivalence. Therefore, mutual translation between languages is impossible.

(3) Translation should deeply understand the era, atmosphere and character of the original author, and strive to avoid the obscure side of the translation and ensure the readability of the translation.

(4) The phonological beauty of poetry and drama translation must be maintained. Meter pattern is the key to all beauty.

Humboldt' s contribution to translation theory is that he is aware of the tension and contradiction of translation. He does not recognize the existence of a universal conceptual system beyond language boundaries. Therefore, his view of translation was interpreted as the representative of untranslatability in the 20th century. Because there are two meanings of "ubersetzen" and "dolmesschen" in German translation, "understanding" always carries "pre-understanding", that is, with personal subjective vision or prejudice, it is impossible to completely reach a consensus between different individuals. "Dolmesschen" let us have the opportunity to enter the commonness of language, which enables translation to cross specific social and cultural factors, and it is possible to understand each other between languages, so there is a reason to seek equivalence in translation. This is Humboldt' s dualism of language and translation.

====4.2 The Soaring Literary Translation: Johann Wolfgang Goethe and Friedrich Holdern====

Johann Wolfgang Goethe (1749-1832) is the greatest poet, translator and outstanding representative of Romanticism in Germany.

To sum up, Goethe believes that translation can be divided into three types.

(1) Facing different types of readers, we need different types of translation. In poetry and truth, he said, "if you want to influence the masses, a simple translation is always the best. Critical translations vying with the original really are of use only for conversations the learned conduct among themselves."(Lefevere, Andrew 1992: 75)

(2) Adaptation or imitation translation. "The second stage is that the translator translates contentedly according to his own wishes. Even if the translator tries to integrate himself into foreign situations, I would rather call this stage imitation stage."(Lefevere, Andrew 1992: 75)

(3) Pay attention to rhythmic literal translation sentence by sentence. Homer's ''Odyssey'' and ''Iliad'' translated by German Translator J. h. Voss made him famous overnight. His translation has beautiful rhythm and intonation and accurate choice of words and sentences. Although the public could not accept the strict literal translation rhythm at first, it gradually recognized it later. Goethe emphasizes that public taste can be shaped through translation.

Among all these three types of translation, Goethe most appreciates the literal translation that pays attention to rhythm, because as a poet, he takes into account the poetic characteristics such as meter pattern and rhythm, which are the true qualities of the original author. Goethe mentioned two principles of Translation: first, foreign writers move closer to the target language, so that his works look the same as the target language writers; Second, readers cross the border to adapt to foreign customs and language characteristics.

Goethe's translation theory is based on his romantic aesthetics. He believes that literal translation can not only convey the information of the original text, but also express the beauty of the translation.

Friedrich Holderlin (1770-1843) is the greatest lyric poet in the German Romantic period.

Holderlin advocates that every language of human beings is derived from the same basic language form, that is, what Benjamin called "pure language". Not only translation, but also creation should return to this ancient source. In translation practice, translators should adhere to literal translation, reflecting the heterogeneity of the original text. In modern poetics and translation studies, Holderlin' s language ontology is mainly based on the view of looking for "words beyond speech". This literal translation brings, of course, lexical obscurity, and Holderlin believes that the more obscure the translation, the more enlightening the tension. This poetic dialectics undoubtedly has a mystical point of view. It is very interesting that in the 20th century, people talked most about the essence of translation. The main point of view related to the essence of translation comes from Holderlin, a "firm guardian of letters" of the literal translation school. He created endless topics for translation. To some extent, Holderlin is the prophet of contemporary translation theory.

===5. Conclusion===

To sum up, as an important stage in the development of Western culture, humanistic trend cannot show up without the practice of cultural translation. As a part of the social thought at that time, translation thought is related to the social and cultural context in that period. Like other social trends at that time, translation thoughts in the period of the Renaissance and the Religious Reformation have played an important role in the evolution of the history of western translation, both returning to the original period and moving towards the new era. Humanistic trend is a turning point in the history of western translation. In short, the emergence of humanistic trend on the historical stage indicates that translation practice and theory have broken away from the "dark" Middle Ages and makes a huge step forward".

===References===

Bassnett, Susan. (1980) Translation Studies. London and New York: Methuen.

Lefevere, Andrew. eds. (1992) Translation/History/Culture: A Source Book. London : Routledge.

Munday, Jeremy. (2001) Introducing Translation Studies : Theories and Applications. London/New York : Routledge.

Nida, Eugene. (1964) Toward A Science of Translating. Leiden: E. J. Brill.

Robinson, Douglas. (1997) Western Translation Theory : from Herodotus to Nietzsche. Manchester : St. Jerome Publishing.

Rousseau, Jean Jacques and John Gottfried Herder. (1986) On the Oringin of Language. Chicago : The University of Chicago Press.

Tan Zaixi tan 谭载喜(2004). 西方翻译简史 A Brief History of Western Translation. 北京：商务印书馆 Beijing: The Commercial Press.

Wang Zuoliang, He Qishen 王佐良、何其莘(1996). 英国文艺复兴时期文学史 A History of English Renaissance Literature. 北京：外语教学与研究出版社 Beijing: foreign Language Teaching and Research Press.

Wang Zuoliang, He Qishen 王佐良，何其莘(1994). 英国文艺复兴时期的文学史 A History of English Renaissance Literature 北京：外语教学与研究出版社 Beijing: foreign Language Teaching and Research Press.

Xie Tianzhen 谢天振(2014). 中西翻译简史 A Brief History of Chinese and Western Translation. 北京：外语教学与研究出版社 Beijing: foreign Language Teaching and Research Press.

Yao Xiaoping 姚小平(1998). 赫尔德论语言的起源译本 The Translation of Herder' s Treatise on the Origin of Language 北京：商务印书馆 Beijing: The Commercial Press.

Written by --[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 08:38, 9 December 2021 (UTC)

20211222 homework

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==陈静 Chén Jìng 国别女 202020080595==

鼎：古代食器。胡羼(chàn忏) ──胡闹。羼：本义为群羊杂居。引申为杂乱不纯，乱七八糟。

Tripod (Ding in Chinese): ancient food utensil. Hu Chan in Chinese means nonsense. Chan in Chinese originally means that the sheep live together, whose extensive meaning is mess.
----

Tripod: ancient food utensil. Hi Chan - nonsense. The original meaning is that sheep live together. It is extended meaning to be messy, impure and messy.
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:25, 12 December 2021 (UTC)

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

抓──即“抓周”，亦称“试儿”、“试周”。旧俗于婴儿满周岁时，父母摆列各种小件器物，任其抓取，以测试其秉性、智愚、志趣。此俗始于江南，后亦传到北方。

Grasping -- namely "grasping the week", also known as "trying the child" and "trying the week". The old custom is that when a baby reaches the age of one year, his parents arrange all kinds of small objects and let him grab them to test his temperament, intelligence and interest. This custom began in the south of the Yangtze River and later spread to the north.
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:23, 12 December 2021 (UTC)

Catch ─ ─ means "catch the week", also known as "test" and "test week". The old custom is when the baby reaches one year old, the parents arrange all kinds of small utensils and let them grab them to test their disposition, wisdom and ambition. This custom began in the south of the Yangtze River and then spread to the north.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:41, 11 December 2021 (UTC)

==曾俊霖 Zēng Jùnlín 国别男 202120081478==

事见北朝周·颜之推《颜氏家训·风操》：“江南风俗，儿生一期(年)，为制新衣，盥浴装饰，男则用弓矢纸笔，女则刀尺针缕(线)，并加饮食之物及珍宝服玩，置之儿前，观其发意所取，以验贪亷智愚，名之为试儿。”

It is said in Yan's family instructions and customs by Yan Zhitui of the Northern Dynasty that "the custom in the south of the Yangtze River was born in the first year. It was to make new clothes and decorate bathrooms. Men used bows and arrows, paper and pens, women used knives, rulers, needles and threads (lines), and played with food and precious clothes. They were placed in front of their children and looked at what they wanted to take to test their greed, wisdom and stupidity. They were called test children."--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:37, 11 December 2021 (UTC)

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

(宋·赵彦卫《云麓漫钞》卷二也有相同记载)又宋·叶真《爱日斋丛钞》卷一：“《玉壶野史》记曹武惠王(曹彬)始生周晬日，父母以百玩之具罗于席，观其所取。

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

武惠王左手提干戈，右手提俎豆，斯须取一印，馀无所视。曹，真定人。江南遗俗乃在此(指真定)，今俗谓试周是也。”

Lord Wuhui holds weapons with his left hand and dinnerware in his right hand.Then he looks at a seal and graps it without seeing anything else.Lord Wuhui, whose first name is Cao, comes from Zhen Ding county. The place is called Shi Zhou now, on whiche Jiang Nan's old cities lay.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 00:23, 14 December 2021 (UTC)

Lord Wuhui holds weapons with his left hand and dinnerware in his right hand.Then he looks at a seal and graps it without seeing anything else.Lord Wuhui, whose first name is Cao, comes from Zhen Ding county. The place is so-called Shizhou now, on which ancient Jiangnan lay.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:07, 14 December 2021 (UTC)

==陈心怡 Chén Xīnyí 翻译学女 202120081481==

致知格物──语出《礼记·大学》：“致知在格物，格物而后知至。”意谓要想获得知识，必须探究事物的道理。致：获得，取得。

Zhi Zhi Ge Wu- ''From The Book of Rites·Daxue'': "Zhizhi lies in Gewu, and after Gewu, knowledge arrives." It means that in order to gain knowledge, one must inquire into the truth of things. Zhi: To acquire, to obtain.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:18, 12 December 2021 (UTC)

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

格：推究，探究，探讨。尧……张──尧、舜、禹、汤、文、武，即唐尧、虞舜、夏禹、成汤、周文王、周武王，是从上古至西周的明君；
Ge: means deduction, exploration and discussion. Yao...Zhang──Yao, Shun, Yu, Tang, Wen, Wu, namely Tang Yao, Yu Shun, Xia Yu, Cheng Tang, Emperor Wen of Zhou Dynasty, Emperor Wu of Zhou Dynasty, they are all wise emperors from ancient times to the Zhou Dynasty;--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 13:11, 11 December 2021 (UTC)

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

周、召，即周公旦、召公奭，都是西周的贤相；孔、孟，即孔丘(通称孔子)、孟轲(通称孟子)，都是儒学的创始人；董、韩、周、程、朱、张，即汉代董仲舒、唐代韩愈、北宋周敦颐、北宋程颢和程颐兄弟、南宋朱熹、北宋张载，都是儒学理论家。

Zhou, called the Duke of Zhou, and Zhao, called Duke of Shi, are both talented prime ministers (in feudal China); Kong (generally called Confucius) and Meng (generally called Mencius) are both founders of Confucianism; Dong (Dong Zhongshu in Han Dynasty), Han (Han Yu in Tang Dynasty), Zhou (Zhou Dunyi in the Northern Song Dynasty), Cheng (Cheng Jing and Cheng Yi brothers in the Northern Song Dynasty), Zhu (Zhu Xi in the Southern Song Dynasty), Zhang (Zhang Zai in the Northern Song Dynasty) are all Confucian theorists. --[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 07:19, 12 December 2021 (UTC)

Zhou and Zhao are respectively the Duke of Zhou and the Duke of Shi and both are talented prime ministers of the Western Zhou Dynasty; both Kong (generally called Confucius) and Meng (generally called Mencius) are founders of Confucianism; Dong (Dong Zhongshu in Han Dynasty), Han (Han Yu in Tang Dynasty), Zhou (Zhou Dunyi in the Northern Song Dynasty), Cheng (Cheng Jing and Cheng Yi brothers in the Northern Song Dynasty), Zhu (Zhu Xi in the Southern Song Dynasty), Zhang (Zhang Zai in the Northern Song Dynasty) are all Confucian theorists. --[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 08:09, 12 December 2021 (UTC)

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

这些人皆是儒家竭力推崇的人物。蚩尤……秦桧──蚩尤、共工，都是传说中上古最凶恶的部族首领；桀、纣、始皇，即夏桀、商纣王、秦始皇，都是登峰造极的暴君；

All these people are strong recommended by confucianists such as Chi You(a mythological warrior engaged in fighting with the Yellow Emperor), Qin Hui (a traitor in the Song dynasty in Chinese history)and so on. Among them both Chi You and Gong Gong (the water god in ancient Chinses history and the devil of floods) are the most ferocious tribal chief in the Chinese legend;and all Xia Jie, Shang Zhou and Qin Shi Huang, being respectively the emperor Jie of Xia Dynasty，the emperor Zhou of Shang Dynasty and the first emperor of Qin Dynasty, are extremely tyrannical.

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

王莽、曹操、桓温、安禄山、秦桧，他们分别是汉代、三国、东晋、唐代、南宋人，都是大奸臣乃至叛逆之贼。许由……朝云──许由，传说他是上古时为了逃避帝位而终生隐居的贤人；陶潜(即陶渊明)、阮籍、嵇康、刘伶，都是魏晋时期著名文学家及不与流俗同低昂的独行之士；

==付诗雨 Fù Shīyǔ 日语语言文学女 202120081486==

王谢二族，指东晋王导和谢安，都是显贵；顾虎头，即顾恺之，字虎头，是东晋名画家；陈后主、唐明皇、宋徽宗，都是有才气的风流皇帝；

The Two families of Wang and Xie, namely Wang Dao and Xie An, were both nobility in the Eastern Jin Dynasty. Gu Hutou, also known as Gu Kaizhi, was a famous painter in the Eastern Jin Dynasty. Emperor Chen Shubao of Chen, Emperor Ming of Tang and Emperor Huizong of Song were all talented and romantic emperors.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 10:07, 12 December 2021 (UTC)

The Two families of Wang and Xie, namely Wang Dao and Xie An, were both of the nobility in the Eastern Jin Dynasty. Gu Hutou, also known as Gu Kaizhi, was a famous painter in the Eastern Jin Dynasty. Emperor Chen Shubao of Chen, Emperor Ming of Tang and Emperor Huizong of Song were all talented and romantic emperors. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 01:02, 13 December 2021 (UTC)

==高蜜 Gāo Mì 翻译学女 202120081487==

刘庭芝即刘希夷(字庭芝)、温飞卿即温庭筠(字飞卿)，都是唐代名诗人；米南宫即米芾(南宫为世称)，是北宋名画家；石曼卿即石延年(字曼卿)、柳蓍卿即柳永(字蓍卿)、秦少游即秦观(字少游)，都是北宋著名文学家；

Liu Tingzhi, or Liu Xiyi (courtesy name Tingzhi), Wen Feiqin refers orWen Tingyun (courtesy name Feiqing) are both famous poets of the Tang Dynasty. Mi Nangong, or Mi Fu (nickname Nangong), was a famous painter of the Northern Song Dynasty; Shi Manqing, or Shi Yannian (courtesy name Manqing), Liu Yaoqing, or Liu Yong (courtesy name Yaoqing), and Qin Shaoyou, or Qin Guan (courtesy name Shaoyou), were famous literary scholars of the Northern Song Dynasty.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 01:03, 13 December 2021 (UTC)

Liu Tingzhi, or Liu Xiyi (styled Tingzhi), Wen Feiqin refers orWen Tingyun (styled Feiqing) are both famous poets of the Tang Dynasty. Mi Nangong, or Mi Fu (nickname Nangong), was a famous painter of the Northern Song Dynasty; Shi Manqing, or Shi Yannian (styled Manqing), Liu Yaoqing, or Liu Yong (styled Yaoqing), and Qin Shaoyou, or Qin Guan (styled Shaoyou), were famous literary scholars of the Northern Song Dynasty.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 12:27, 15 December 2021 (UTC)

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

倪云林即倪瓒，字云林，是元代名画家；唐伯虎即唐寅(字伯虎)、祝枝山即祝允明(字枝山)，都是明代名画家、文学家；李龟年(唐代人)、黄幡绰(唐代人)、敬新磨(五代后唐人)，都是名艺人；

Ni Yunlin, i.e Ni Zan, was a famous painter in the Yuan Dynasty. Tang Bohu i.e Tang Yin (styled Bohu), Zhu Zhishan i.e Zhu Yunming (styled Zhishan), are famous Ming dynasty painters, litterateurs; Li Gunian (Tang Dynasty), Huang Fan Chuo (Tang Dynasty), Jing Xinmo (five dynasties later Tang dynasty), are famous artists;--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 12:23, 15 December 2021 (UTC)

Ni Yunlin, or Ni Zan, or Ni Yunlin, was a famous painter in the Yuan dynasty; Tang Bohu (or Tang Yin) and Zhu Zhishan (or Zhu Yunming) were famous painters and literary figures in the Ming dynasty; Li Guinian (of the Tang dynasty), Huang Fanchuo (of the Tang dynasty), and Jing Xinmo (of the post-Tang dynasty of the Five Dynasties) were all famous artists.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 06:39, 15 December 2021 (UTC)

==何芩 Hé Qín 翻译学女 202120081489==

卓文君(已见第一回注)、红拂(先为隋相杨素的侍女，后私奔李靖，也是前蜀·杜光庭《虬髯客传》中的女主人公)、薛涛(唐代才妓)、崔莺(即唐·元稹《会真记》、元·王实甫《西厢记》中的崔莺莺)、朝云(宋代名妓)，他们都是以才貌流芳的名女。

Zhuo Wenjun (see the first chapter note), Hong Fu (she used to be as the servant of the Sui minister Yang Su, then eloping to Li Jing; she was also the heroine of ''The Legend of the Gnarled Man'' by Du Guangting), Xue Tao (a talented prostitute of the Tang Dynasty), Cui Ying (i.e. Cui Yingying of Yuan Zhen's ''The Book of Hui Zhen'' and Wang Shifu's "The Western Chamber"), Zhaoyun (a famous prostitute of the Song Dynasty), they are all famous for their talent and beauty. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 06:32, 15 December 2021 (UTC)

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

成则公侯败则贼──意谓成功的人便能获得公爵、侯爵之类的高官显爵，失败的人便被看作贼寇。表示世上并无公理，世人不讲是非，只论成功与失败，即只以成败论英雄。这里化用了“败则盗贼，成则帝王”。

Success makes the Duke while failure makes the theif ——which means that, If one is successful, he will be worshipped as the Duke. While one is unsuccessful, he will be despised as the thief. It expresses that there is no generally acknowledged truth in the world and people neglect justice and only pay attention to success and failure, that is, the sole measure. It coins a phrase here, “Failure makes a thief， success a king.”

The winner is Duke, the looser is theif means that the person who succeeded would be entitled like Duke and who failed would be dispised as a theif. It presents that there is no generally acknowledged truth in the world and people neglect justice and only pay attention to success and failure, that is, the sole measure. It coins a phrase here, “Failure makes a thief， success a king.”--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:58, 12 December 2021 (UTC)

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

出自宋·邓牧《君道》：“嘻！天下何常之有？败则盗贼，成则帝王。”东床──指女婿。典出《晋书·王羲之传》、南朝宋·刘义庆《世说新语·雅量》：晋朝太尉郗鉴派人至丞相王导家相婿，王丞相令其到东厢房随意挑选。

It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying "how can the world be immutable! The loser is the thief, and the winner is the emperor." Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography" and Liu Yiqing's "Shi Shuo Xin Yu · Elegance" (Southern Song dynasty): In Jin dynasty Tai Wei (supreme government official in charge of military affairs) Xijian sent an underlying to the prime minister Wang Dao's house for taking in a son-in-law, and Prime Minister Wang invite him to choose at will in the east wing.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:43, 12 December 2021 (UTC)

It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying "how can the world be immutable! The loser is the thief, and the winner is the emperor." Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography" and Liu Yiqing's "Shi Shuo Xin Yu · Elegance" (Southern Song dynasty): In Jin dynasty Tai Wei (supreme government official in charge of military affairs) Xijian sent an official to the prime minister Wang Dao's house choosing a son-in-law, and Prime Minister Wang invited him to choose at will in the east wing room.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:51, 12 December 2021 (UTC)

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

此人过去一看，见王家诸郎皆很矜持，唯独王羲之坦腹躺在东床之上，毫不在乎。此人回报，郗鉴即选中王羲之为婿。后世即以“东床”、“东床坦腹”、“东床客”、“东床娇客”等代指女婿。

The man looked over and saw that all the lords of Wang family were very reserved, except Wang Xizhi, who was lying on the east bed and didn't care, showing his belly. In return, Xi Jian chose Wang Xizhi as his son-in-law. Later generations referred to the son-in-law with "East Bed", "East Bed Man Showing Belly", "East Bed Guest", "East Bed Distinguished Guest" and so on.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 04:59, 12 December 2021 (UTC)

==黄柱梁 Huáng Zhùliáng 国别男 202120081493==

退了一舍之地──意谓退避三十里。形容退居其后，不敢与争。一舍：三十里。这里化用了“退避三舍”之典。

==金晓童 Jīn Xiǎotóng 202120081494==

典出《左传·僖公二十三年》：春秋时，晋国公子重耳出奔至楚，楚成王礼遇之，因问道：“公子若反(返)晋国，则何以报不谷？”重耳对曰：“若以君之灵，得反晋国，晋、楚治兵，遇于中原，其辟(避)君三舍。”
This story comes from ''Zuo Zhuan · Xi public twenty three years'': During the Spring and Autumn Period (777-476 BC), Childe Chong Er of the state of Jin went to the state of Chu. King Cheng of Chu gave a banquet for Chong er and asked, "If childe returns to the state of Jin, how will you repay me? Chong Er answered, "If I can return to the state of Jin, if the troops of the state of Jin and the state of Chu meet each other in the Central Plains, I will ask the troops of the state of Jin to retreat 90 li.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 06:56, 12 December 2021 (UTC)

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

后重耳返国为君，晋、楚城濮(在今山东省鄄城县西南)之战，重耳遵守诺言，晋军果“退三舍以辟之”。

第三回

托内兄如海荐西宾接外孙贾母惜孤女

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

却说雨村忙回头看时，不是别人，乃是当日同僚一案参革的张如圭。他系此地人，革后家居，今打听得都中奏准起复旧员之信，他便四下里寻情找门路，忽遇见雨村，故忙道喜。二人见了礼，张如圭便将此信告知雨村。

Yue-ts'un, turning round in a hurry, perceived that the speaker was no other than a certain Chang Ju-kuei, an old colleague of his, who had been denounced and deprived of office, on account of some case or other; a native of that district, who had, since his degradation, resided in his home.Having come to hear the news that a memorial, presented in the capital, that the former officers (who had been cashiered) should be reinstated, had received the imperial consent, he had promptly done all he could, in every nook and corner, to obtain influence, and to find the means (of righting his position,) when he, unexpectedly, came across Yue-ts'un, to whom he therefore lost no time in offering his congratulations. The two friends exchanged the conventional salutations, and Chang Ju-kuei communicated the tidings to Yue-ts'un.

Yue-ts'un, speedily looking back on, perceived that the speaker was no other than a certain Chang Ju-kuei, an old colleague of his, who had participated in the former case but been denounced and deprived of office, on account of some case or other. He was a native of that district, who had resided at home since his degradation. Having lately come to hear the news that a memorial, presented in the capital, that the former officers (who had been cashiered) should be reinstated, had received the imperial consent, he had promptly done all he could to obtain influence, and to find the means of righting his position. When he, unexpectedly, came across Yue-ts'un, he offered offering his congratulations to him soon. The two friends greeted to each other, exchanging the conventional salutations, and Chang Ju-kuei forthwith passed on the information to Yue-ts'un.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:55, 15 December 2021 (UTC)

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

雨村欢喜，忙忙叙了两句，各自别去回家。冷子兴听得此言，便忙献计，令雨村央求林如海，转向都中去央烦贾政。雨村领其意而别，回至馆中，忙寻邸报看真确了。次日，面谋之如海。如海道：“天缘凑巧。

Yue-ts'un was delighted, but after he had made a few remarks in a hurry, each took his leave and sped on his own way homewards. After hearing this conversation, Leng Tzu-hsing hastened at once to propose a plan, advising Yue-ts'un to request Lin Ju-hai, then, in his turn, to appeal to Chia Cheng in the capital for support. Yue-ts'un accepted the suggestion, and took leave of him. Upon returning to the quarter, he made all haste to lay his hand on the Metropolitan Gazette, to ascertain whether the news was authentic or not. On the next day, he had a personal consultation with Ju-hai. "Providence and good fortune are both alike propitious!" said by Ju-hai.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:57, 15 December 2021 (UTC)

Yue-ts'un was delighted, but after he they made a short conversation, each of them stepped on their own way homewards. After hearing the words of Yue-ts'un, Leng Tzu-hsing hastened at once to propose a plan, advising Yue-ts'un to request Lin Ju-hai, then, in his turn, to appeal to Chia Cheng in the capital for support. Yue-ts'un accepted the suggestion, and took leave of him. Upon returning to the quarter, he made all haste to read the Metropolitan Gazette, to ascertain the authenticity of that news. On the next day, he made a personal consultation with Ju-hai. Thus, Ju-hai said, "Providence and good fortune are both alike propitious!" --[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:06, 15 December 2021 (UTC)

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

因贱荆去世，都中家岳母念及小女无人依傍，前已遣了男女、船只来接，因小女未曾大痊，故尚未行。此刻正思送女进京。因向蒙教训之恩，未经酬报，遇此机会，岂有不尽心图报之理？弟已预筹之，修下荐书一封，托内兄务为周全，方可稍尽弟之鄙诚；

Since my wife has passed away, my mother-in-law has long before dispatched servants and transporting boats here to fetch my lonely daughter. But she has not set off yet due to the fact that she had not fully recovered at that time. As she is in good condition now, I am considering sending her to her grandma's. Once you have taught my daughter but desired no handsome payment; while now you need help, how can I sit on the fence? I have already well prepared for that in advance --- a recommendation letter has been written to my brother-in-law, to ensure your success in career. Only in this way can I show my gratitude towards you.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 08:15, 11 December 2021 (UTC)

Since my wife has passed away, my mother-in-law who lives in the capital worried that my daughter has no one to rely on. So she has long before dispatched servants and transporting boats here to fetch my lonely daughter. But she has not set off yet due to the fact that she had not fully recovered at that time. As she is in good condition now, I am considering sending her to her grandma's. Once you have taught my daughter but desired no handsome payment; while now you need help, how can I sit on the fence? I have already well prepared for that in advance --- a recommendation letter has been written to my brother-in-law, to ensure your success in career. Only in this way can I show my gratitude towards you.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 07:43, 12 December 2021 (UTC)

==李双 Lǐ Shuāng 翻译学女 202120081499==

即有所费，弟于内家信中写明，不劳吾兄多虑。”雨村一面打恭，谢不释口；一面又问：“不知令亲大人现居何职？只怕晚生草率，不敢进谒。”如海笑道：“若论舍亲，与尊兄犹系一家，乃荣公之孙：大内兄现袭一等将军之职，名赦，字恩侯；

“As for the possible costs, I will explain in the letter. You don’t need to worry about it.” Yu Cun bent down and expressed his gratitude, asking: “What does your brother do now? I’m worried that I would take the liberty to pay a visit, it’s too hasty.” Ru Hai laughed and said: “My brother and your brother belong to the same family. They are both descendants of Origin Merchant. My eldest brother is now a first-class general, his name is Pardon Merchant, whose alternative given name is Enhou.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 07:38, 12 December 2021 (UTC)

“As for the possible costs, I will explain in the letter. You needn’t to worry about it.” Yu Cun bent down and expressed his gratitude, asking: “What does your brother do now? I’m worried that I would take the liberty to pay a visit, it’s too hasty.” Ru Hai laughed and said: “My brother and your brother belong to the same family. They are both descendants of Ronggong. The eldest brother of my wife is now a first-class general, his name is Pardon Merchant, whose alternative given name is Enhou.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 23:46, 12 December 2021 (UTC)

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

二内兄名政，字存周，现任工部员外郎，其为人谦恭厚道，大有祖父遗风，非膏粱轻薄之流，故弟致书烦托，否则不但有污尊兄清操，即弟亦不屑为矣。”雨村听了，心下方信了昨日子兴之言，于是又谢了林如海。

“The second brother of my wife named Zheng, his style name is Cunzhou. He is the Yuanwai official of the Ministry of Works in feudal China. He is moderate and kind, has the dignity of his grandfather, and is not the flimsy type. Therefore, my brother sent a letter to me. Otherwise, I will not only pollute my brother's operation, but also despise my brother.” After hearing this, Yuchun had believed the words of Zixing yesterday, therefore, he thanked Lin Ruhai again. --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 01:27, 12 December 2021 (UTC)

The second brother-in-law is named Zheng, and the word is kept in Zhou. He is currently a member of the Ministry of Engineering. He is courteous and kind. He has a grandfather's legacy. He is not anointing and frivolous. Disdainful. "Yucun listened, and believed in Xing's words from yesterday, so he thanked Lin Ruhai again.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:12, 12 December 2021 (UTC)

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

如海又说：“择了出月初二日小女入都，吾兄即同路而往，岂不两便？”雨村唯唯听命，心中十分得意。如海遂打点礼物并饯行之事，雨村一一领了。那女学生原不忍离亲而去，无奈他外祖母必欲其往，且兼如海说：“汝父年已半百，再无续室之意；
Ruhai also said: "I chose the girl to enter the capital on the second day of the lunar month, and my brother will go the same way. Isn't it both convenient?" Yucun obeyed,and RuHai was very satisfied . Ruhai then took some gifts and walked away, and Yucun took them one by one. The girl student couldn't bear to leave her relatives, but his grandmother wanted to go there. She also said like the sea: "Your father is half a hundred years old, and there is no intention to remarry.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:11, 12 December 2021 (UTC)

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

且汝多病，年又极小，上无亲母教养，下无姊妹扶持。今去依傍外祖母及舅氏姊妹，正好减我内顾之忧，如何不去？”黛玉听了，方洒泪拜别，随了奶娘及荣府中几个老妇登舟而去。雨村另有船只，带了两个小童，依附黛玉而行。

==李怡 Lǐ Yí 法语语言文学女 202120081504==

一日到了京都，雨村先整了衣冠，带着童仆，拿了宗侄的名帖，至荣府门上投了。彼时贾政已看了妹丈之书，即忙请入相会。见雨村相貌魁伟，言谈不俗；且这贾政最喜的是读书人，礼贤下士，拯溺救危，大有祖风；况又系妹丈致意：因此优待雨村，更又不同。
One day, when YuCun arrived in Jingdou, he dressed himself, and went to Rongfu with his nephew's name card. At this time Jia Zheng had seen his brother-in-law's letter, immediately invited him to come in to meet. Yucun looked tall and handsome and talked well. And Jia Zheng most like scholar, courtesy, saving, great predecessors style; Therefore, Jia Zheng is very good to Yucun. He is different from others.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 08:18, 11 December 2021 (UTC)

One day, when YuCun arrived in Jingdou, he dressed himself, and went to Rongfu with his nephew's name card. At this time Jia Zheng had received his brother-in-law's letter, immediately invited him to come in to meet. Yucun looked tall and handsome and talked well. And Jia Zheng most like scholar, courtesy, saving, great predecessors style; Therefore, Jia Zheng is very good to Yucun. He is different from others.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 11:51, 13 December 2021 (UTC)

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

便极力帮助，题奏之日，谋了一个复职。不上两月，便选了金陵应天府，辞了贾政，择日到任去了，不在话下。且说黛玉自那日弃舟登岸时，便有荣府打发轿子并拉行李车辆伺候。这黛玉尝听得母亲说，他外祖母家与别人家不同。

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

他近日所见的这几个三等的仆妇，吃穿用度，已是不凡；何况今至其家，都要步步留心，时时在意，不要多说一句话，不可多行一步路，恐被人耻笑了去。自上了轿，进了城，从纱窗中瞧了一瞧，其街市之繁华，人烟之阜盛，自非别处可比。

In the past few days, she has been deeply impressed by the food, clothing and behavior of the low- ranking attendants who accompanied her. She decided that in their new home, she must always be vigilant and carefully weigh every word so as not to be ridiculed for any stupid mistake. When she carried into the city, she peeped out through the gauze window on her chair at the bustling and crowded streets, which she had never seen before.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 08:32, 11 December 2021 (UTC)

The three-class servants she had seen recently have an extraordinary cost of food and clothing. What's more, since got on the sedan chair and entered the city, the prosperous market and the populousness of the city through the screen window were not comparable to other places. when coming to grandmother's mansion must pay attention to every step and be cautious with words so as not to be ridiculed by others. Daiyu thought. --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:56, 12 December 2021 (UTC)Liu Wei

==刘薇 Liú Wēi 国别女 202120081507==

又行了半日，忽见街北蹲着两个大石狮子，三间兽头大门，门前列坐着十来个华冠丽服之人。正门不开，只东、西两角门有人出入。正门之上有一匾，匾上大书“敕造宁国府”五个大字。黛玉想道：“这是外祖的长房了。”

After half day, there are two large stone lions squatting on the north side of the street, three gates decorated with beast head, and a dozen people in gorgeous crowns and clothes are sitting in front of the gate. The main gate is closing, only the east and west corners enterences are accessible. There is a plaque above the main gate with five big characters "Ningguo Mansion". "That must be grandfather's the first son's mansion."Daiyu thought. --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:39, 12 December 2021 (UTC)Liu Wei

After another half-day walk, they came to a street with two huge stone lions crouching on the north side and three gates decorated with beast head, in front of which ten or more people in gorgeous crowns and clothes were sitting. The main gate was shut, with only people passing in and out of the other two smaller gates. On a board above the main gate was written in big characters "Ningguo Mansion Built at Imperial Command". Daiyu realized that this must be where the elder branch of her grandmather's family lived.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:40, 13 December 2021 (UTC)

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

又往西不远，照样也是三间大门，方是荣国府，却不进正门，只由西角门而进。轿子抬着走了一箭之远，将转弯时便歇了轿，后面的婆子也都下来了。另换了四个眉目秀洁的十七八岁的小厮上来抬着轿子，众婆子步下跟随。

A little further to the west they came to another three gates. This was the Rong Mansion. Instead of going through the main gate, they entered the one on the west. The bearers carried the chair a bow-shot further, and then set it down at the turning and withdrew, the maidservants now going down the chair. Another four seventeen or eighteen smartly dressed lads picked up the chair, followed by the maids.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:09, 12 December 2021 (UTC)

Not far to the west is the same three-room gate, which is the Rongguo Mansion. Instead of going through the main gate, they entered the one on the west. The bearers carried the chair a bow-shot further, and then set it down at the turning and withdrew, the maidservants now going down the chair. Another four seventeen or eighteen smartly dressed lads picked up the chair, followed by the maids.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:26, 12 December 2021 (UTC)

==刘越 Liú Yuè 亚非语言文学女 202120081509==

至一垂花门前落下，那小厮俱肃然退出。众婆子上前打起轿帘，扶黛玉下了轿。黛玉扶着婆子的手，进了垂花门，两边是超手游廊，正中是穿堂，当地放着一个紫檀架子大理石屏风。转过屏风，小小三间厅房。

When the palanquin was dropped in front of a pendant door, the attendants all retired in silence. The ladies came forward and raised the curtain of the palanquin and helped Daiyu out of the palanquin. The two sides of the door are overhand corridors, and the centre is a hall with a marble screen on a rosewood frame. Turning past the screen, there is a small three-room hall.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:22, 12 December 2021 (UTC)

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

厅后便是正房大院：正面五间上房，皆是雕梁画栋；两边穿山游廊、厢房，挂着各色鹦鹉、画眉等雀鸟。台阶上坐着几个穿红着绿的丫头，一见他们来了，都笑迎上来道：“刚才老太太还念诵呢，可巧就来了。”于是三四人争着打帘子。一面听得人说：“林姑娘来了。”

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

黛玉方进房，只见两个人扶着一位鬓发如银的老母迎上来。黛玉知是外祖母了，正欲下拜，早被外祖母抱住，搂入怀中，“心肝儿肉”叫着大哭起来。当下侍立之人无不下泪，黛玉也哭个不休。众人慢慢解劝，那黛玉方拜见了外祖母。

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

贾母方一一指与黛玉道：“这是你大舅母。这是二舅母。这是你先前珠大哥的媳妇珠大嫂子。”黛玉一一拜见。贾母又说：“请姑娘们。今日远客来了，可以不必上学去。”众人答应了一声，便去了两个。

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

不一时，只见三个奶妈并五六个丫鬟，拥着三位姑娘来了：第一个肌肤微丰，身材合中，腮凝新荔，鼻腻鹅脂，温柔沉默，观之可亲；第二个削肩细腰，长挑身材，鸭蛋脸儿，俊眼修眉，顾盼神飞，文彩精华，见之忘俗；

In a little while, three grannies and five or six servant girls turned up, clustering with three ladies. The first was somewhere plump in figure and of average height; her cheek was in beautiful shape, like a fresh lichee; her nose was glossy like the goose grease; she was gentle and quiet in nature, who looks very friendly. The second was thin and tall with an oval face, sparking eyes and long eyebrows; her elegance and quick-witted mind tickle people’s fancy, letting them forget everything vulgar.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 08:11, 11 December 2021 (UTC)

After a while, the three young ladies showed up, escorted by three wet nurses and five or six maids. The first was slightly plump and of medium height; her cheeks were as smooth and soft as the newly ripened lichees, and her nose was as glossy as goose fat. She was tender and reticent, and looked very affable. The second had drooping shoulders and a slender waist; she was tall and slim, with an oval face, bright and piercing eyes as well as delicate eyebrows. She seemed elegant, quick-witted and in high spirits, with a display of distinctive charm. People who looked at her were to forget everything vulgar and tawdry.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 23:42, 11 December 2021 (UTC)

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

第三个身量未足，形容尚小：其钗环裙袄，三人皆是一样的妆束。黛玉忙起身，迎上来见礼，互相厮认，归了坐位。丫鬟送上茶来。不过叙些黛玉之母如何得病，如何请医服药，如何送死发丧。不免贾母又伤感起来，因说：“我这些女孩儿，所疼的独有你母亲。

The third one was not yet fully grown, and she still had the face of a child. All the three young ladies were dressed in similar garments, that is, the tunics and the skirts with the same bracelets and head ornaments. Daiyu hastily rose to greet politely these cousins, and then they introduced to and acquainted with each other, after which they took seats while the maids served the tea. All their talk now was about Daiyu's mother: the culprit for her illness, the medicine that the doctors prescribed for treating her disease, and the conduction of her funeral and mourning ceremonies. Inevitably, the Lady Dowager couldn't help being affected painfully. "Of all my chilren I loved your mother best," she told Daiyu.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 07:49, 11 December 2021 (UTC)

==毛优 Máo Yōu 俄语语言文学女 202120081515==

今一旦先我而亡，不得见面，怎不伤心！”说着，携了黛玉的手，又哭起来。众人都忙相劝慰，方略略止住。众人见黛玉年纪虽小，其举止言谈不俗；身体面貌虽弱不胜衣，却有一段风流态度，便知他有不足之症。

Once she died before me, I could not see her again. She said, taking Daiyu's hand, and cried again. Everyone was busy trying to console her, and soon she slightly stopped. They saw that although Daiyu was young, her manner and speech were not ordinary; although her health was weak, she had graceful and elegant manner, so they knew that she had a disease of deficiency.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 08:43, 11 December 2021 (UTC)

"Once she died before me, it is so sad that I could not see her again." she said, taking Daiyu's hand, and cried again. Everyone was trying to console her, and then she slightly stopped. They saw that although Daiyu was young, her manner and speech were not ordinary; although she was weak, she had graceful and elegant gestures, so they learned that she had a disease of deficiency.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:35, 12 December 2021 (UTC)

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

因问：“常服何药？为何不治好了？”黛玉道：“我自来如此，从会吃饭时便吃药到如今了，经过多少名医，总未见效。那一年我才三岁，记得来了一个癞头和尚，说要化我去出家，我父母自是不从。

So they asked:" What medicine do you usually take? Why doesn't it work?" Daiyu replied:" I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous daocters cannot contribute to my illness.When I was three years old, a monk with favus on the head came to persuade me to become a nun,but my parents declined him.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 08:07, 11 December 2021 (UTC)

They then asked, "What medicines do you take regularly? Why can't you cure your illness?" Daiyu said, "I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous docters cannot contribute to my illness. I was only three years old when I remember a mangy monk came and said he wanted to convert me to a monk, but my parents refused.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:29, 13 December 2021 (UTC)

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

他又说：‘既舍不得他，但只怕他的病，一生也不能好的；若要好时，除非从此以后，总不许见哭声，除父母之外，凡有外亲，一概不见，方可平安了此一生。’这和尚疯疯癫癫，说了这些不经之谈，也没人理他。

The monk said, "if you can't bear to part with her she'll probably nerver get well. The only remedy is to keep her from hearing weeping and from seeing any relatives apart from her father and mother. That's her only hope of having a quiet life." No one paid any attention, of course, to such crazy talk.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:24, 13 December 2021 (UTC)

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

如今还是吃人参养荣丸。”贾母道：“这正好，我这里正配丸药呢，叫他们多配一料就是了。”一语未完，只听后院中有笑语声，说：“我来迟了，没得迎接远客。”黛玉思忖道：“这些人个个皆敛声屏气如此，这来者是谁，这样放诞无礼？”

Now Lin Daiyu is still taking ginseng pills.And Grandma Jia said:" What a coincidence! The pills are making now, I just tell them to add one." The words have not been finished, but there is a laugh in the back yard, which said:" I come late and fail to welcome our distinguished guest." Daiyu thought: all people here are holding their breath, who is this person that is so arrogant and rude?--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 08:19, 11 December 2021 (UTC)

Now Lin Daiyu is still taking ginseng pills. And Grandmother Jia said:" It just so happens that I have been asking them to dispense the pills, just asking them to do one more portion." The words are not finished, but there is a laugh in the back yard, which said:" I am late and fail to welcome our distinguished guest." Daiyu thought: “all people here are holding their breath, who is this person that is so arrogant and rude?”--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 09:33, 12 December 2021 (UTC)

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

心下想时，只见一群媳妇、丫鬟拥着一个丽人，从后房进来。这个人打扮与姑娘们不同，彩绣辉煌，恍若神妃仙子：头上戴着金丝八宝攒珠髻，绾着朝阳五凤挂珠钗；项上戴着赤金盘螭缨络圈；身上穿着缕金百蝶穿花大红云缎窄褃袄，外罩五彩刻丝石青银鼠褂；

While Lin Daiyu is still thinking about it, a group of daughters-in-law and maids cluster around a beauty coming in from the back room. She dresses up differently from other girls, with colorful embroidery splendor, and looks like a divine concubine or a fairy: wearing a gold silk beads bun decorated with eight treasures and the five phoenix hairpin hanging with beads on the head; a red gold coiled chi dragon tassel ring around the neck; the bright red made of cloud satin material narrow lining cotton jacket with decorations of wisps of gold hundred butterflies and flowers, and the outer coat with decorations of the multicolored engraved silk stone green silver mouse. --[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 09:34, 12 December 2021 (UTC)

Lin Daiyu was still thinking about it when she saw a group of daughters-in-law and maids embracing a beautiful woman who came in from the back room. This woman dresses differently from the girls, with colorful embroidery splendor, and looks like a divine concubine fairy: wearing a gold silk eight treasure save beads bun and the sunrise five phoenix hanging beads hairpin on the head; a red gold coiled chi dragon tassel ring around the neck; wearing the bright red made of cloud satin material narrow lining cotton jacket with decorations of wisps of gold hundred butterflies and flowers, and the outer coat with decorations of the multicolored engraved silk stone green silver mouse.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:47, 11 December 2021 (UTC)

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

下着翡翠撒花洋绉裙。一双丹凤三角眼，两弯柳叶吊梢眉。身量苗条，体格风骚。粉面含春威不露，丹唇未启笑先闻。黛玉连忙起身接见。贾母笑道：“你不认得他。他是我们这里有名的一个泼辣货，南京所谓‘辣子’，你只叫他‘凤辣子’就是了。”

Wang Xifeng wore a jadeite flowered dress underneath, with a pair of phoenix triangle eyes and two curved willow hanging eyebrows. Her figure is slim and her physique is flirtatious. She can be described with “ the face is delicate and beautiful, spirited character of her is not revealed in the appearance, red lips beautiful, not yet open mouth first heard her laugh”. Lin Daiyu hastily got up to curtsy to her. Lady Dowager said with a smile, "You do not recognize her. She is famous for her boldness and vigorousness here, she is truly the 'chilli woman' in Nanjing dialect, you can just call her ' chilli Feng'."--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:35, 11 December 2021 (UTC)

Wang Xifeng, characterized by a pair of phoenix triangle eyes and two curved willow hanging eyebrows, wore an emerald flowered crepe skirt. She was slender and coquettish, with a delicate face and a smiling lip. Daiyu promptly rose quickly to greet her. Lady Dowager said with a smile: “ you don’t know him. He is famous for her fierceness and toughness, namely the so-called Nanjing chilli. So you can just call him ‘Chilli Feng’.”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:48, 11 December 2021 (UTC)

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

黛玉正不知以何称呼，众姊妹都忙告诉黛玉道：“这是琏二嫂子。”黛玉虽不曾识面，听见他母亲说过：大舅贾赦之子贾琏，娶的就是二舅母王氏的内侄女，自幼假充男儿教养，叫做王熙凤学名。黛玉忙陪笑见礼，以“嫂”呼之。

Daiyu was insensible of what to call her. Then her sisters told her promptly: “ this is your sister-in-law Lian Er.” Although Daiyu had never met her, she heard of her from his mother: Jia Lian, the son of her Uncle Jia She, had married the niece of Aunt Wang, named scientifically Wang Xifeng, was brought up as a male offspring since childhood. Daiyu was engaged in smiling and saluting at her, calling her “sister-in-law”.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:32, 11 December 2021 (UTC)

Daiyu didn't know what to call her. Then her sisters told her promptly: “This is your sister-in-law Lian Er.” Although Daiyu had never met her, she heard of her from his mother: Jia Lian, the son of her Uncle Jia She, had married the niece of Aunt Wang.She was brought up as a male offspring since childhood and her academic name is Wang Xifeng. Daiyu was engaged in smiling and saluting at her, calling her “sister-in-law”.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:55, 13 December 2021 (UTC)

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

这熙凤携着黛玉的手，上下细细打量了一回，便仍送至贾母身边坐下，因笑道：“天下真有这样标致人儿！我今日才算看见了。况且这通身的气派，竟不像老祖宗的外孙女儿，竟是嫡亲的孙女儿似的，怨不得老祖宗天天嘴里心里放不下。

Taking Daiyu's hand, Xifeng looked up and down her carefully, then she sent her to Mother Jia's side to sit down.She laughed and said:"There is really such a beautiful person in the world!I didn't see her until today.Moreover,the style of her makes her be more like your son's daughter than your daughter's daughter.It's no wonder that you are concerned about her so much.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:49, 13 December 2021 (UTC)

Taking Daiyu's hand, Xifeng looked her up and down carefully, then sent her to Mother Jia's side to sit down. She laughed and said:"There is really such a beautiful person in the world! I haven’t seen her until today. Moreover, her extraordinary temperament makes her be more like your son's daughter rather than your daughter's daughter. It's no wonder that you are concerned about her so much. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 06:48, 13 December 2021 (UTC)

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

只可怜我这妹妹这么命苦，怎么姑妈偏就去世了呢？”说着便用帕拭泪。贾母笑道：“我才好了，你又来招我；你妹妹远路才来，身子又弱，也才劝住了：快别再提了。”

I pity my sister for being so miserable, how could my aunt died so early?" She said, wiping her tears with her handkerchief. Grandma Jia laughed and said, "I've just recovered. You come to provoke me again. Your sister has just arrived from a long journey and is weak, so she has just been persuaded: Don't mention it again."--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 02:37, 12 December 2021 (UTC)

I pity my sister who is so miserable, how could my aunt have died?" She said, wiping her tears with her handkerchief. Your sister has only just arrived from a long journey and is weak, so she has only just been persuaded to stop talking about it."--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:22, 11 December 2021 (UTC)

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

熙凤听了，忙转悲为喜道：“正是呢，我一见了妹妹，一心都在他身上，又是喜欢，又是伤心，竟忘了老祖宗了。该打，该打！”又忙拉着黛玉的手问道：“妹妹几岁了？可也上过学？现吃什么药？在这里别想家。

The first time I saw my sister, I was all over him, and I liked him, and I was sad, and I forgot about my ancestors. You should be beaten, you should be beaten!" He also took Daiyu's hand and asked, "How old is my sister? How old is she? What kind of medicine do you take now? Don't be homesick here.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:21, 11 December 2021 (UTC)

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

要什么吃的，什么玩的，只管告诉我；丫头、老婆们不好，也只管告诉我。”黛玉一一答应。一面熙凤又问人：“林姑娘的东西可搬进来了？带了几个人来？你们赶早打扫两间屋子，叫他们歇歇儿去。”

Just tell me what you want to eat and play; Girls and old servants are not good, just tell me. " Daiyu nodded one by one. On one side, Xifeng asked, "have you moved in Miss Lin's things? How many people have you brought? Clean the two rooms early and tell them to have a rest."--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 06:54, 12 December 2021 (UTC)

Tell me what you want to eat and play; And if the maids or old nurses aren't good to you, just let me know. " Daiyu nodded one by one. At the same time, Xifeng asked, "Have Miss Lin's things been moved in? And how many people does she bring? Clean the two rooms as soon as possible and tell them to have a rest there."--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 08:24, 12 December 2021 (UTC)

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

说话时已摆了果茶上来，熙凤亲自布让。又见二舅母问他：“月钱放完了没有？”熙凤道：“放完了。刚才带了人到后楼上找缎子，找了半日，也没见昨儿太太说的那个。想必太太记错了。”王夫人道：“有没有，什么要紧！”

Fruits and tea had been prepared when Xifeng was talking, and she arranged them by herself. The second aunt asked her whether the monthly payment has been given out, she answered yes. “I looked for the satin in the back stairs with some people for hours just now, but didn’t find which madam mentioned yesterday. Madam must be wrong.” Wang Xifeng said, and Mrs. Wang answered, “ It doesn’t matter if there is or not.”--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 07:45, 12 December 2021 (UTC)

Fruits and tea had been prepared when Xifeng was talking, and she arranged them by herself. The second aunt asked her, "Have the monthly payment been given out?" Xifeng answered, "Yes. And I looked for the satin in the back stairs with some people for hours just now, but didn’t find what madam mentioned yesterday. Madam mabey remember something wrong.” Mrs. Wang replied, “ It doesn’t matter if there is or not.”--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 09:03, 12 December 2021 (UTC)

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

因又说道：“该随手拿出两个来，给你这妹妹裁衣裳啊。等晚上想着，再叫人去拿罢。”熙凤道：“我倒先料着了，知道妹妹这两日必到，我已经预备下了。等太太回去过了目，好送来。”

Mrs. Wang said, "You should take out a couple of satin pieces to cut your sister's dress. When you think of this matter in the evening, send someone for the satin ." Xifeng said, "I expected it. I knew my sister would arrive in these two days, and I had already made preparations. I will send someone for the satin as soon as you have returned and examined it."--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 08:52, 12 December 2021 (UTC)

Mrs. Wang added, "You should take out a couple of satin pieces to cut your sister's dress. When you think of this in the evening, send someone for the satin ." Xifeng said, "I have expected it. I know my sister will arrive in these two days, and I have already made preparations. I will send someone for the satin as soon as you have examined it."--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:58, 12 December 2021 (UTC)

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

王夫人一笑，点头不语。当下茶果已撤，贾母命两个老嬷嬷带黛玉去见两个舅舅去。维时贾赦之妻邢氏忙起身笑回道：“我带了外甥女儿过去，到底便宜些。”

Her Ladyship smiled, nodded and said nothing. Now the refreshments were cleared away and the Lady Dowager ordered two nurses to take Daiyu to see her two uncles. At this time, Mrs. She also immediately stood up, replied with smile, "it's also very convenient for me to take my niece."--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:51, 11 December 2021 (UTC)

Her Ladyship smiled, nodded but said nothing. Now the refreshments were cleared away and the Lady Dowager ordered two mothers to take Daiyu to see her two uncles. At this time, Mrs. She immediately stood up, replied with a smile, "it's also very convenient for me to take my niece."--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 08:37, 12 December 2021 (UTC)

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

贾母笑道：“正是呢，你也去罢，不必过来了。”那邢夫人答应了，遂带着黛玉，和王夫人作辞，大家送至穿堂。垂花门前早有众小厮拉过一辆翠幄青油车来，邢夫人携了黛玉坐上，众老婆们放下车帘，方命小厮们抬起。

Jiamu laughed and said: “ Yeah, you can also leave, and don’t have to come here.” Ms. Xing promised, and said goodbye to Ms Wang with Daiyu, all of them went through the hallway. The ingenious green carriage, which drove by a group of manservants stood in front of the floral-pendant gates, Ms. Xing set in the car with Daiyu, several old mothers put down the car shade, instructing boys uplift the carriage. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 08:35, 12 December 2021 (UTC)
The mother laughed and said, "Exactly, you also go, no need to come." That Mrs. Xing agreed, so took Daiyu, and Mrs. Wang to say goodbye, we sent to the wear hall. The tent green oil carriage in front of the flower gate, Mrs. Xing took Daiyu to sit on it, the wives put down the curtain, and ordered the boys to lift it.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 01:13, 13 December 2021 (UTC)

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

拉至宽处，驾上驯骡，出了西角门往东，过荣府正门，入一黑油漆大门内，至仪门前方下了车。邢夫人挽着黛玉的手进入院中。黛玉度其处必是荣府中之花园隔断过来的。
Pulled to a wide place, driving on the tame mule, out of the west corner gate to the east, past the main gate of Rongfu, into a black-painted gate, to the front of the ceremony door down the car. Mrs. Xing took Daiyu's hand and entered the courtyard. The first thing you need to do is to get to the garden.

Then he took the mule，went out the west Corner gate to the east, passed the main gate of Rongfu, entered a black painted gate, and got off in front of Yi gate. Lady Xing took Daiyu's hand and entered the courtyard. Daiyu spent its place must be the garden in the rong mansion partition come over.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 01:38, 15 December 2021 (UTC)

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

进入三层仪门，果见正房、厢房、游廊悉皆小巧别致，不似那边的轩峻壮丽，且院中随处之树木山石皆好。及进入正室，早有许多艳妆丽服之姬妾、丫鬟迎着。邢夫人让黛玉坐了；一面令人到外书房中请贾赦。

When we entered the three-story ceremonial gate, the main room, wing room and verandah were all small and unique, unlike those of the other side. Besides, the trees, mountains and stones in the courtyard were all good. When they entered the main room, there were many concubines and servant girls dressed in colourful makeup and beautiful clothes waiting for them. Madam Xing asked Daiyu to sit down and then let others invite Jia She in the outer study.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 01:02, 15 December 2021 (UTC)

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

一时回来说：“老爷说了：‘连日身上不好，见了姑娘，彼此伤心，暂且不忍相见。劝姑娘不必伤怀想家，跟着老太太和舅母，是和家里一样的。姐妹们虽拙，大家一处作伴，也可以解些烦闷。或有委屈之处，只管说，别外道了才是。’”

Mrs.Xing came back and said, "the master said, 'I've been felt not so good for days. I am afraid that I will be emotional if I see you, so I can't bear to see you for the time being. I advise you not to be homesick. It's the same as home to follow the old lady and aunt. Although the sisters are clumsy, you can relieve some boredom if you keep company together. If you have grievances, just tell us and make yourself at home.''

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

黛玉忙站起身来，一一答应了。再坐一刻便告辞，邢夫人苦留吃过饭去。黛玉笑回道：“舅母爱惜赐饭，原不应辞；只是还要过去拜见二舅舅，恐去迟了不恭，异日再领。望舅母容谅。”

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

邢夫人道：“这也罢了。”遂命两个嬷嬷用方才坐来的车送过去。于是黛玉告辞。邢夫人送至仪门前，又嘱咐了众人几句，眼看着车去了方回来。一时黛玉进入荣府，下了车，只见一条大甬路直接出大门来。

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

众嬷嬷引着，便往东转弯，走过一座东西穿堂，向南大厅之后，仪门内大院落：上面五间大正房，两边厢房，鹿顶耳房钻山，四通八达，轩昂壮丽，比各处不同。黛玉便知这方是正内室。

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

进入堂屋，抬头迎面先见一个赤金九龙青地大匾，匾上写着斗大三个字，是“荣禧堂”；后有一行小字：“某年月日书赐荣国公贾源”，又有“万幾宸翰”之宝。大紫檀雕螭案上，设着三尺多高青绿古铜鼎，悬着待漏随朝墨龙大画，一边是錾金彝，一边是玻璃盆。

==颜莉莉 Yán Lìlì 国别女 202120081537==

地下两溜十六张楠木圈椅。又有一副对联，乃是乌木联牌镶着錾金字迹，道是：座上珠玑昭日月，堂前黼黻焕烟霞。下面一行小字是“世教弟勋袭东安郡王穆莳拜手书”。原来王夫人时常居坐宴息也不在这正室中，只在东边的三间耳房内。

On the ground two rows of 16 nanmu armchairs. There is also a pair of couplets, ebony couplet inset with gold handwriting, it said:The pearl and jade in the seat can shine with the sun and the moon; The people in front of the lobby wearing official clothes, its colors like clouds like clouds. The next line is written by mu Shis, the hereditary king of Dongpyeong County, who is a brother who has been taught by your family for generations.For Lady Wang often sat and reposed not in this main room, but in the three eastern rooms.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 03:36, 12 December 2021 (UTC)

Since Lady Wang seldom sat in this main hall but used three rooms on the east side for relaxation.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:04, 14 December 2021 (UTC)

==颜子涵 Yán Zǐhán 国别女 202120081538==

于是嬷嬷们引黛玉进东房门来。临窗大炕上铺着猩红洋毯，正面设着大红金钱蟒引枕，秋香色金钱蟒大条褥；两边设一对梅花式洋漆小几：左边几上摆着文王鼎，鼎旁匙箸、香盒；右边几上摆着汝窑美人觚，里面插着时鲜花草。

So that the nurses led Daiyu through the door of the eastern wing. The large kang by the window was covered with a scarlet foreign rug. In the middle were red back-rests and turquoise bolsters, both with dragon-design medallions, and a long greenish yellow mattress also with dragon medallions. On the two sides， stood one of a pair of small teapoys of foreign lacquer of plum-blossom pattern. On the left-hand table were a tripod, spoons, chopsticks and an incense container; On the right-hand table were a slender-waisted porcelain vase from the Ruzhou Kiln in which were placed seasonable flowers.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 09:48, 14 December 2021 (UTC)

Thereupon,the nurses led Daiyu through the door of the eastern wing. The large kang by the window was covered with a scarlet foreign rug. In the middle were red back-rests and turquoise bolsters, both with dragon-design medallions, and a long greenish yellow mattress also with dragon medallions. On the two sides stood on a pair of small teapoys of foreign lacquer of plum-blossom pattern. On the left-hand table were a tripod, spoons, chopsticks and an incense container; On the right-hand table were a slender-waisted porcelain vase from the Ruzhou Kiln in which were placed seasonable flowers.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:47, 14 December 2021 (UTC)

==阳佳颖 Yáng Jiāyǐng 国别女 202120081540==

地下面，西一溜四张大椅，都搭着银红撒花椅搭，底下四副脚踏；两边又有一对高几，几上茗碗、瓶花俱备。其馀陈设，不必细说。老嬷嬷让黛玉上炕坐。炕沿上却也有两个锦褥对设。

On the floor on the west side of the room, were four chairs in a row, all of which were covered with antimacassars, embroidered with silverish-red flowers.Beneath them stood four footstools. On either side, was also a pair of high teapoys which were covered with teacups and flower vases.The rest of the room need not be described in detail.
The nurses urged Daiyu to sit on the kang, on the edge of which were two brocade cushions. --[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:42, 14 December 2021 (UTC)

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

黛玉度其位次，便不上炕，只就东边椅上坐了。本房的丫鬟忙捧上茶来。黛玉一面吃了，打量这些丫鬟们妆饰衣裙，举止行动，果与别家不同。

==杨堃 Yáng Kūn 法语语言文学女 202120081542==

茶未吃了，只见一个穿红绫袄、青绸掐牙背心的一个丫鬟走来笑道：“太太说，请林姑娘到那边坐罢。”老嬷嬷听了，于是又引黛玉出来，到了东廊三间小正房内。

Before the tea was drunk, a servant girl wearing a red silk jacket and a green satin vest came up and smiled, "Mrs. Wang invited Miss Lin to come and sit over there." When the old Mammy heard this, she led Daiyu out again and went to the third small main room on the east porch.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:33, 12 December 2021 (UTC)

Before they drank tea over, a servant girl in a red silk jacket and a green satin vest came up and smiled, "Mrs. Wang invited Miss Lin to come and sit over there." When the old Mammy heard this, she led Daiyu out again to the third small main room on the east porch.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:10, 12 December 2021 (UTC)

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

正面炕上横设一张炕桌，上面堆着书籍、茶具；靠东壁面西设着半旧的青缎靠背、引枕。王夫人却坐在西边下首，亦是半旧青缎靠背、坐褥。见黛玉来了，便往东让。

On the kang there was a kang table on which books and tea sets piled up. Half new backrests and pillows made of blue satins were set on the east side of the wall. However, Mrs. Wang set at the foot of the west wall where half new backrests and mattresses made of blue satins were displayed. Mrs. Wang moved to the east side when she saw Lin Daiyu come in.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:11, 12 December 2021 (UTC)

==叶维杰 Yè Wéijié 国别男 202120081544==

黛玉心中料定这是贾政之位。因见挨炕一溜三张椅子上也搭着半旧的弹花椅袱，黛玉便向椅上坐了。王夫人再三让他上炕，他方挨王夫人坐下。王夫人因说：“你舅舅今日斋戒去了，再见罢。

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

只是有句话嘱咐你：你三个姐妹倒都极好，以后一处念书认字，学针线，或偶一玩笑，却都有个尽让的。我就只一件不放心：我有一个孽根祸胎，是家里的混世魔王，今日因往庙里还愿去，尚未回来，晚上你看见就知道了。

I just have one thing to tell you: your three sisters are all very good, and in the future they will study and learn to read and write together, and learn to sew, or occasionally play jokes, but all of them will do their best. There is only one thing I am not sure about: I have a sinful child who is the evil one in my family, and he has not returned yet because he has gone to the temple to pay his respects.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 02:19, 13 December 2021 (UTC)Yi Yangfan

I just want to remind you: your sisters are very kind , and in the future you will study together, and learn to read and write and learn to sew. Sometimes you will play jokes at each other, but you will be very tolerant to each other. There is only one thing I am worried about: there is a naughty boy in our family, and he has not returned yet because he has gone to the temple to redeem his wishes, you will see him in the evening.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 07:45, 13 December 2021 (UTC)

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

你以后总不用理会他，你这些姐姐妹妹都不敢沾惹他的。”黛玉素闻母亲说过：“有个内侄，乃衔玉而生，顽劣异常，不喜读书，最喜在内帏厮混。外祖母又溺爱，无人敢管。”

“You can ignore him later and none of your sisters dare to bother him. ” Daiyu heard from her mother: “I have a nephew, who was born with jade in his mouth. He is very naughty and don’t like to read, but prefer to play with girls. His grandma has always spoiled him so that everyone let him be. ”--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 07:27, 13 December 2021 (UTC)

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

今见王夫人所说，便知是这位表兄。一面陪笑道：“舅母所说，可是衔玉而生的？在家时，记得母亲常说：这位哥哥比我大一岁，小名就叫宝玉，性虽憨顽，说待姊妹们却是极好的。

What Lady King described today is the cousin for sure. Mascara Jade said while smiling:" Is the person you just mentioned my cousin born with a jade? I remember when I was at home my mother often said that the cousin nicknamed Precious Jade is one year older than me. Although he is a little mischievous, he is very friendly with his sisters".--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 14:27, 12 December 2021 (UTC)

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

况我来了，自然和姊妹们一处，弟兄们是另院别房，岂有沾惹之理？”王夫人笑道：“你不知道原故。他和别人不同，自幼因老太太疼爱，原系和姐妹们一处娇养惯了的。

Now I come here,undoubtfully I live with my sisters. The brothers are in some different houses. Is there any reason to mess with them?" Lady King smiled and said, "You don't know. Unlike the others, he had been coddled by his sisters since he was young for the love of Grandma Merchant.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 15:30, 13 December 2021 (UTC)

Now I come here,undoubtfully I live with my sisters. The brothers are in some different houses. Is there any reason to mess with them?" Lady King smiled and said, "You don't know the reason. Unlike others, he had been coddled by his sisters since he was young for the love of Grandma Merchant.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 03:20, 15 December 2021 (UTC)

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

若姐妹们不理他，他倒还安静些；若一日姐妹们和他多说了一句话，他心上一喜，便生出许多事来：所以嘱咐你别理会他。他嘴里一时甜言蜜语，一时有天没日，疯疯傻傻，只休信他。”黛玉一一的都答应着。

“If the sisters ignore him, he is a bit quieter: if one day the sisters talk to him more, he is so happy that he will stir up many troubles: so I tell you to ignore him. He may talk sweetly for a while, and he may be crazy and silly for a while, just don't believe him.” Daiyu replied one by one.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 08:45, 13 December 2021 (UTC)

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

忽见一个丫鬟来说：“老太太那里传晚饭了。”王夫人忙携了黛玉，出后房门，由后廊往西，出了角门，是一条南北甬路，南边是倒座三间小小抱厦厅，北边立着一个粉油大影壁，后有一个半大门，小小一所房屋。
Suddenly see a servant girl to say: "old lady there spread supper." Lady Wang and Daiyu went out of the back door, leading from the back corridor to the west and out of the corner gate. There was a north-south corridor, with three small rooms in the south, a big screen wall of powder and oil in the north, and a small house with a half gate behind.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 13:53, 12 December 2021 (UTC)

Suddenly a servant girl said, "the old lady has passed on dinner." Lady King hurriedly took Mascara Jade Pearl out of the back door, from the back porch to the west, out of the corner door. It is a North-South corridor. In the south is the inverted three small balcony halls. In the north is a oil-powdered large shadow wall, followed by a half gate and a small house.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 12:28, 13 December 2021 (UTC)

==张扬 Zhāng Yáng 国别男 202120081551==

王夫人笑指向黛玉道：“这是你凤姐姐的屋子。回来你好往这里找他去，少什么东西，只管和他说就是了。”这院门上也有几个才总角的小厮，都垂手侍立。王夫人遂携黛玉穿过一个东西穿堂，便是贾母的后院了。

Lady King smiled at Mascara Jade Pearl and said: "This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her." On the gate of the courtyard, there were also several young boys who were only in their childhood, all standing with their hands down. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 07:30, 11 December 2021 (UTC)

Lady King smiled at Mascara Jade Pearl and said: "This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her." On the gate of the courtyard,there were also a few young boys on the door of this courtyard, all standing with their hands down.. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.

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

于是进入后房门，已有许多人在此伺候，见王夫人来，方安设桌椅；贾珠之妻李氏捧杯，熙凤安箸，王夫人进羹。贾母正面榻上独坐，两旁四张空椅。熙凤忙拉黛玉在左边第一张椅子上坐下，黛玉十分推让。

So they entered the back room, where many people were already waiting, and when they saw Lady King coming, they placed the table and chairs; Li, wife of Treasure Merchant, held the cup, Lady King placed the chopsticks, and Splendid Phoenix King drank the soup. Grandma Merchant was sitting alone on a couch, flanked by four empty chairs. Splendid Phoenix King was busy pulling Mascara Jade Forest to sit in the first chair on the left, but Mascara Jade Forest was too embarrassed to sit.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 00:57, 13 December 2021 (UTC)

So they entered the back room, where many people were already waiting, and when they saw Lady King coming, they placed the table and chairs; Li, wife of Treasure Merchant, held the cup, Lady King placed the chopsticks, and Splendid Phoenix King drank the soup. Grandma Merchant was sitting alone on a couch, flanked by four empty chairs. Splendid Phoenix King was busy pulling Mascara Jade Forest to sit in the first chair on the left, but Mascara Jade Forest was too embarrassed to sit.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 03:42, 13 December 2021 (UTC)

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

贾母笑道：“你舅母和嫂子们是不在这里吃饭的。你是客，原该这么坐。”黛玉方告了坐，就坐了。贾母命王夫人也坐了。迎春姊妹三个告了坐，方上来：迎春坐右手第一，探春左第二，惜春右第二。

Mrs. Jia said with a smile, "your aunt and sister-in-law don't eat here. You are a guest. You should have sat here." Daiyu then sat down. Jia Mu ordered Mrs. Wang to sit down. The three sisters of Yingchun sat down：Yingchun sat first on the right hand, Tanchun second on the left, and Xi Chun second on the right.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:36, 11 December 2021 (UTC)

Mrs. Jia said with a smile, "your aunts and sisters-in-law don't eat here. You are a guest. You should have sat here." Daiyu then sat down. Mrs. Jia ordered Mrs. Wang to sit down. The three sisters of Yingchun were asked to sit down: Yingchun sat first on the right hand, Tanchun second on the left, and Xi Chun second on the right.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 02:02, 12 December 2021 (UTC)

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

旁边丫鬟执着拂尘、漱盂、巾帕，李纨、凤姐立于案边布让；外间伺候的媳妇、丫鬟虽多，却连一声咳嗽不闻。饭毕，各各有丫鬟用小茶盘捧上茶来。当日林家教女以惜福养身，每饭后必过片时方吃茶，不伤脾胃；

Standing at the table, the servant girls held the horsetail whisks, vessels for mouthwash and handkerchiefs. Li Wan and Wang Xifeng sent dishes, refreshments to guests and invited them to eat. Though there were many servant girls in the outer room, they could not be heard to utter a sound. When the meal was over, each servant girl brought tea with a small tray. The daughter of Lin Ruhai, Lin Daiyu took tea after each meal to keep health and not hurt her spleen and stomach.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 01:55, 12 December 2021 (UTC)

The servant girls are standing at the table with the horsetail whisks, vessels for mouthwash and handkerchiefs. Li Wan and Wang Xifeng sent dishes, refreshments to guests and invited them to eat. Though there were many servant girls in the outer room, they could not be heard to utter a sound. When the meal was over, each servant girl brought tea with a small tray. The daughter of Lin Ruhai, Lin Daiyu took tea after each meal to keep health and not hurt her spleen and stomach.--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 09:23, 13 December 2021 (UTC)

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

今黛玉见了这里许多规矩不似家中，也只得随和些。接了茶，又有人捧过漱盂来，黛玉也漱了口，又盥手毕。然后又捧上茶来，这方是吃的茶。贾母便说：“你们去罢，让我们自在说说话儿。”
Now Daiyu saw many rules here are not like the rules of her home. She was also easy-going. After receiving the tea, someone else took a gargle bowl for her. Daiyu also rinsed her mouth and finished washing her hands again. Then tea which was for drinking was brought in. Then Mother Jia said to servants , "You all go and let's have a talk in our own comfort."

Now Daiyu saw many rules here are not like the rules of her home. She can only be easygoing. She caught the teacup. Some domestics came over with a mouthwash basin. Daiyu gargled and washed her hands. Then the servant brought back tea, and this was tea for drinking.Then Grandma Merchant said to servant, "You all go and let's have a talk in our own comfort."--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 10:47, 13 December 2021 (UTC)

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

王夫人遂起身，又说了两句闲话儿，方引李、凤二人去了。贾母因问黛玉念何书，黛玉道：“刚念了《四书》。”黛玉又问姊妹读何书，贾母道：“读什么书，不过认几个字罢了。”

Lady Wang stood up and said something idle, then led Lady Li and Splendid Phoenix King to leave. When Grandma Merchant asked Daiyu what books she had read, Daiyu replied, "I just have read the ''Four Books''." When Daiyu asked her sisters what books they read, Grandma Merchant said, "They don't read anything. They only know a few words."--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 09:25, 13 December 2021 (UTC)
Madame Wang rose as soon as she heard these words, and having made a few irrelevant remarks, she led the way and left the room along with the two ladies, Mrs. Li and lady Feng.Dowager lady Chia, having inquired of Tai-yue what books she was reading, "I have just begun reading the Four Books," Tai-yue replied. "What books are my cousins reading?" Tai-yue went on to ask. "Books, you say!" exclaimed dowager lady Chia; "why all they know are a few characters, that's all."--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:15, 15 December 2021 (UTC)

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

一语未了，只听外面一阵脚步响，丫鬟进来报道：“宝玉来了。”黛玉心想：“这个宝玉，不知是怎样个惫懒人呢。”及至进来一看，却是位青年公子：头上戴着束发嵌宝紫金冠，齐眉勒着二龙戏珠金抹额；

The sentence was barely out of her lips, when a continuous sounding of footsteps
was heard outside, and a waiting maid entered and announced that Pao-yue was
coming. Tai-yue was speculating in her mind how it was that this Pao-yue had
turned out such a good-for-nothing fellow, when he happened to walk in.
He was, in fact, a young man of tender years, wearing on his head, to hold his
hair together, a cap of gold of purplish tinge, inlaid with precious gems.
Parallel with his eyebrows was attached a circlet, embroidered with gold, and
representing two dragons snatching a pearl.
--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 08:36, 13 December 2021 (UTC)

After a word, only a sound of footsteps outside, the maid came in and reported: "Baoyu is here." Daiyu thought to herself: "This Baoyu, I don't know what a tired lazy person." When she came in, she was a young man. He wears a purple and gold crown with hair inlaid on his head, and his forehead are tied with gold frontlet（The shape is two dragons playing with pearled）.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 15:21, 11 December 2021 (UTC)

==周清 Zhōu Qīng 法语语言文学女 202120081558==

一件二色金百蝶穿花大红箭袖，束着五彩丝攒花结长穗宫绦，外罩石青起花八团倭缎排穗褂；登着青缎粉底小朝靴。面若中秋之月，色如春晓之花；鬓若刀裁，眉如墨画，鼻如悬胆，睛若秋波。

A big red arrow sleeve decorated with two-color golden butterfly flowers, is tied with multicolored silk and knotted with long spikes, and is covered with azurite and satin rowed gowns; it wears small green satin and powder-soled boots. The face is as round and beautiful as the moon of Mid-Autumn Festival, the complexion is like a flower of spring dawn; the temples are like a knife cut, the eyebrows are like ink painting, the nose is like a hanging gall, and the eyes are like autumn waves.

A big red arrow sleeve decorated with two-color golden butterfly flowers, is tied with multicolored silk and knotted with long spikes, and is covered with azurite and satin rowed gowns; he wore small green satin and powder-soled boots. The face is as round and beautiful as the moon at mid-autumn, the complexion is like a flower of in spring; the temples as if chiselled with a knife, the eyebrows are like ink painting, the nose is like a a well-cut and shapely nose, and the eyes are like vernal waves.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:19, 13 December 2021 (UTC)

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

虽怒时而似笑，即嗔视而有情。项上金螭缨络，又有一根五色丝绦，系着一块美玉。黛玉一见，便吃一大惊，心中想道：“好生奇怪：倒像在那里见过的，何等眼熟！”只见这宝玉向贾母请了安，贾母便命：“去见你娘来。”

His angry look even resembled a smile; his glance was full of sentiment.Round his neck he had a gold dragon necklet with a fringe; also a cord of variegated silk, to which was attached a piece of beautiful jade. When Daiyu saw this, she was shocked."How very strange." she was reflecting in her mind; "it would seem as if I had seen him somewhere or other, for his face appears extremely familiar to my eyes;" Baoyu greeted Lady Dowager "Go and see your mother and then come back," remarked her venerable ladyship.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:08, 13 December 2021 (UTC)

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

即转身去了。一会再来时已换了冠带：头上周围一转的短发都结成小辫，红丝结束，共攒至顶中胎发，总编一根大辫，黑亮如漆，从顶至梢，一串四颗大珠，用金八宝坠脚；身上穿着银红撒花半旧大袄；仍旧带着项圈、宝玉、寄名锁、护身符等物；

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

下面半露松绿撒花绫裤，锦边弹墨袜，厚底大红鞋。越显得面如傅粉，唇若施脂；转盼多情，语言若笑。天然一段风韵，全在眉梢；平生万种情思，悉堆眼角。看其外貌，最是极好，却难知其底细。

==Nadia 202011080004==

后人有《西江月》二词批的极确，词曰：

==Mahzad Heydarian 玛莎 202021080004==

无故寻愁觅恨，有时似傻如狂。
Seeking sorrow and hate for no reason, sometimes seems stupid and crazy.

==Mariam toure 2020GBJ002301==

纵然生得好皮囊，腹内原来草莽。

==Rouabah Soumaya 202121080001==

潦倒不通庶务，愚顽怕读文章。

I'm not able to get through general affairs, and I'm afraid of reading articles.

==Muhammad Numan 202121080002==

行为偏僻性乖张，那管世人诽谤。
He who behaves in a perverse way has no control over the slander of course.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 03:29, 14 December 2021 (UTC)

==Atta Ur Rahman 202121080003==

又曰：富贵不知乐业，贫穷难耐凄凉。
It is also known that wealth does not know pleasure and happiness, and poverty cannot endure loneliness.

==Muhammad Saqib Mehran 202121080004==

可怜辜负好时光，于国于家无望。

==Zohaib Chand 202121080005==

天下无能第一，古今不肖无双。

==Jawad Ahmad 202121080006==

寄言纨袴与膏粱，莫效此儿形状。

English; the author is to give some suggestion to playboys of high official that they do not follow the example of Jia Baoyu.

==Nizam Uddin 202121080007==

却说贾母见他进来，笑道：“外客没见就脱了衣裳了，还不去见你妹妹呢。”

==Öncü 202121080008==

宝玉早已看见了一个袅袅婷婷的女儿，便料定是林姑妈之女，忙来见礼。

Baoyu had already seen a daughter with a gentle posture, thought might be the daughter of Aunt Lin, then hurried to meet her.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:17, 13 December 2021 (UTC)

==Akira Jantarat 202121080009==

归了坐细看时，真是与众各别。

When I look at you carefully, I think you are different.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 09:59, 13 December 2021 (UTC)

When I returned to take a closer look, it was really different. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 07:41, 12 December 2021 (UTC)

==Benjamin Wellsand 202111080118==

只见：两弯似蹙非蹙笼烟眉，一双似喜非喜含情目。

I saw: two bends like the frowning of smoked eyebrows, at first they seemed happy but not really happy, yet affectionate eyebrows. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 07:41, 12 December 2021 (UTC)

I saw: two curved eyebrows that looked like a frown, a pair of eyebrows that seemed to be happy or not. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 23:18, 12 December 2021 (UTC)

==Asep Budiman 202111080020==

态生两靥之愁，娇袭一身之病。

The sorrow of the two distresses, the disease of the whole body. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 23:17, 12 December 2021 (UTC)

The sorrow of two distresses, spoiled - the disease of the whole body.------Ei Mon Kyaw [[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:15, 15 December 2021 (UTC)--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:15, 15 December 2021 (UTC)Ei Mon Kyaw

==Ei Mon Kyaw 202111080021==

泪光点点，娇喘微微。

Tears shone a little, and she breathed slightly.--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 15 December 2021 (UTC)Ei Mon Kyaw -----Ei Mon Kyaw[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 15 December 2021 (UTC)
The tears droped, and she breathed slowly. --[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 11:58, 15 December 2021 (UTC)

Hist Trans Theo EN 12

2021-12-16T03:08:17Z

Wei Zhaoyan: /* 12 魏兆妍 The Humanistic Trend in Western Translation Theory from the 14th to the 19th Century */

'''History of Translation Theories'''

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=12 魏兆妍 The Humanistic Trend in Western Translation Theory from the 14th to the 19th Century=
[[Hist_Trans_Theo_EN_12]]

'''The Humanistic Trend in Western Translation Theory from the 14th to the 19th Century'''

'''14世纪至19世纪西方翻译理论中的人文主义思潮'''

Wei Zhaoyan 魏兆妍 Hunan Normal University, China

===Abstract===
From the 14th century, Europe began to enter into the Renaissance, and the Christian world view gradually degenerated with the emergence of individual centered humanism. People who submitted to God were regarded as rational and unique individuals, emphasizing their creative potential and giving full play to their talents. With the invention of printing in the 15th century, education and schools began to be open to the public. Reading translated works from different countries was no longer a noble enjoyment. Words and information were transmitted in all directions and more quickly through translation. Translation was called the forerunner of the Renaissance. It can be said that without translation, there would be no European Renaissance and humanistic thought. In Europe, the writers, thinkers and scholars in this period were also translators who knew several languages, and we can see that translation and creation were closely linked. This paper will focus on the humanistic trend in western translation theory from the 14th to the 19th century, and will also enumerate the representative figures and their translation ideas in this period.

===Key words===
Humanistic trend, Western translation theory, Poetics of translation, National and world visions

===摘要===
从14世纪开始，欧洲进入了文艺复兴时期，基督教世界观随着以个人为中心的人文主义的出现而逐渐退化。顺从上帝的人被视为理性而独特的个体，他们强调自己的创造潜力，充分发挥自己的才能。随着15世纪印刷术的发明，教育和学校开始向公众开放。阅读不同国家的翻译作品不再是一种高尚的享受。文字和信息通过翻译向四面八方传播，而且速度更快。翻译被称为文艺复兴的先驱。可以说，没有翻译，就没有欧洲文艺复兴和人文思想。在欧洲，这一时期的作家、思想家和学者也是通晓多种语言的翻译家，可见翻译与创作是紧密相连的。本文将着重探讨14世纪至19世纪西方翻译理论中的人文主义思潮，并列举这一时期的代表性人物及其翻译思想。

===关键词===
人文主义思潮；西方翻译理论；翻译诗学；民族与世界视野

===1. Introduction===

From the 14th century, Europe began to enter into the Renaissance. Dante, the last poet in the middle ages, completed ''The Divine Comedy'' in 1321. In Dante's mind, all human life experience, including life and death, must be explained by Christian faith in order to show its meaning and significance. This Christian worldview gradually degenerated with the emergence of individualism-centered humanism. All beings who submitted to God were regarded as rational, unique and creative individuals. In the past years, translators were servants attached to God. Now they have shifted from God to focusing on the translator. Personal development has become the goal and value of life. Although humanist thinkers, writers and translators still maintain the Christian faith, they put more emphasis on personal creative potential and give full play to people's strengths. The focus of translation activities in this period also shifted from the classics of the Christian Church to the translation of more secular humanistic works.

With the invention of printing in the 15th century, education and schools began to be open to the public. Reading translated works from different countries was no longer a noble enjoyment. Through the wings of translation, words and information were transmitted in all directions and more quickly. For example, Marco Polo (1254-1324) told the story of his travels in China, which spread all over the European continent through printed words. The invention of printing not only brought about a cultural revolution, but also a sharp increase in the number of translations. Translation is known as the forerunner of the Renaissance. It can be said that without translation, there would be no European Renaissance and humanistic thought. Take the role of translation in English literature for example: "Translation played a great role in the British Renaissance: first, as a pioneer, it was countless translated works that first caused the mental climate of humanism. Second, translation was still active in the era of the restoration of the king's government, but attention has turned to French works. In the intervening years, that is, in the half century from 1558 to 1603 when Queen Elizabeth was in office, translation activities were more frequent, and famous translations also appeared the most frequently, which constituted a translation climax in the whole history of English literature. " In the Queen Elizabeth era, translation reached an unprecedented prosperity, and good translations of famous works continued to emerge. In the following 17th to 18th centuries, neoclassical literary translation surpassed the previous stage. Translation was particularly important to the development of modern English language, literature and culture. (Wang Zuoliang, He Qishen 1996: 72）

In Europe, the writers, thinkers and scholars in this period were translators who knew several languages, translation and creation were closely linked. A large number of scholars and poets have expressed their opinions on translation. From the 14th to the 16th century, the most representative was Dante's "untranslatability of literature" in Italy (1265-1321); Erasmus of the Netherlands (1466 - 1536) relied on the translator's language knowledge in the translation of ''The Bible''; The translation of German Luther (1482 - 1546) must adopt the language of the people; The translators in Dore’ s mind (1509-1546) in France must understand the original content, be proficient in two languages, avoid word for word translation, adopt popular form and pay attention to the "five translation principles" of beautiful style; Poetry translation in English Chapman' s(1559-1634) mind can not be stiff translation, and the poetry translation method of "rebuilding a new image" can be used.

From the 17th to the 19th century, the representative figures were as follows. Abranco of France: the translation method of “the beautiful unfaithful ones” which emphasized literariness and readability; Bartow (1731-1780) : accurate translation view of "the author is the master and the translator is the servant"; Dryden (1747-1841) of England: three translation principles of "literal translation, free translation and imitation translation"; Tytler (1747-1814): three translation principles of "the translation must completely reproduce the thought of the original work: the style and tone of the translation must be consistent with the characteristics of the original; the translation must be as smooth as the original." ; Humanistic thinker Herder (1744-1830) of German Romanticism: made a pioneering thinking on the language, nationality and the characteristics of relativism in translation. Goethe (1749-1832) of German: called the translator as "the prophet of the people"; Humboldt (1767-1835): expressed the views on translatability and untranslatability which had a great impact on the 20th century. The foreignization translation method of Schleiermacher (1768-1834) in the later stage has influenced the deconstructive translation theory of the 20th century. For the above representative figures and different translation views, this paper will focus on the humanistic trend and enumerate some of the representatives according to the development sequence of the history of western translation theory.

===2. The "Rebels" Who Change the Traditional Concept of Translation===
Since Jerome, the debate between literal and free translation has begun in the west. The dispute between them actually involves the question of whether translation should be equivalent to the original text, that is, faithfulness, which is also a thread running through western translation theory for more than 2000 years. Since the Renaissance, people have become more and more aware of their own subjectivity, but religious influence is everywhere all the time. As a translator, if he has any unconventional translation behavior, he may be persecuted by spirit and body, even lead to death. A history of western translation can be said to be written in the life and blood of translators to a certain extent.

Between 1536 and 1546, three translators died. Two of them were caused by translation work. They were French translation theorist Dolet, religious reformer and translator Martin Luther as well as British translator William Tyndale.
====2.1 Etiene Dolet: Five Principles of Translation====
In the history of western translation theory, the first humanist to systematically expound translation theory was Etiene Dolet(1509-1546). Dolet is a translator, printer and scholar. He is the first translator suffering from translation since the Renaissance. He is a learned, versatile and liberated translator. His interpretation of classics was regarded as walking between orthodoxy and paganism. The European Church has advocated for a long time that the translation of ''The Bible'' should be literal translation, especially the Roman Catholic Church supported the "correct" and conventional translation of ''The Bible'' . Any interpretation and translation that deviated from the classics may be regarded as heresy, criticized and prohibited, and some adventurous interpreters and translators suffered a horrible fate. In 1546, the Theological Seminary of Sorbonne University in France identified that Dolet added the phrase "whereas you will no longer be anything at all" without foundation in the translation of a paragraph about "existence after human death" in Plato's dialogue ''Axiochus'', then he was burned alive at the stake. This paragraph is as follows:

The original text in Greek: Hoti peri men tous zôntas ouk estin, hoi de apothanontes ouk eisin. hôste oute peri se nun estin, ou gar tethnêkas oute ei ti pathois, estai peri se su gar ouk esei.

The French translation by Dolet: Pour ce qu'il est certain que la mort n'est point aux vivants: et quant aux defuncs, ilz ne sont plus: donques la mort les atouches encore moins. Parquoy elle ne peult rien sur toy, car tu n'est pas encores prest à deceder; et quand tu seras décédé, elle n'y pourra rien aussi，attendu que tu ne seras plus ''rien du tou''. (The text in sixteenth century cited by Ballard and Copley Christie)

The translation in English:Since it is certain death is not at all among the living: and as for the dead, they no longer are: therefore, death touches them even less. And hence death can do nothing to you, for you are not yet ready to die, and when you have died, death will also not be able to do anything, since you will no longer be ''anything at all''.

This paragraph by Plato is an obvious atheist view. It is close to the meaning of "how can you know death when you don't know life" (''The Analects of Confucius''). The original Greek version is abstruse and difficult to understand, and there are omissions in many places. It can't be translated without adding cohesive devices. The three words added in italic French and English in the text only play a role in connecting and do not change the meaning of the original text. Dolet's addition was accused of "blasphemy", because such translation was accused of "denying the eternity of the soul", and it was precisely because he "made" this fatal translation "mistake" that he was burned at the age of 37. This accusation was a typical "unnecessary" accusation. As a translator, Dolet only translated the meaning of the original text and did not understand it improperly. The key was that Plato described Aristotle's conversation, Sorbonne's clergy could not blame Plato, so they had to blame Dolet for adding the three French words “rien du tout” (nothing at all) , because these three words could not be found in Greek or Latin, the church accused him of misunderstanding Plato's intention, blaspheming the gods and not believing in eternity. So, the risk of translation arises.

Because Dolet was persecuted by the clergy to death, his "five principles on translation" was cherished by the western translation field. Dolet's "five principles on translation" came from ''The Way of Translating Well from One Language into Another'' (1540) The excerpts of the original text are as follows:

To translate well from one language into another requires in the main five things:

(1)In the first place, the translator must understand perfectly the sense and matter of the author he is translating, although he should feel free to clarifty obscurities.

(2)The translator should have a perfect knowldgwe of boh SL and IL, so as not to lessen the majesty of the language.

(3) The translator should avoid word for word renderings.

(4)The translator should avoid Latinate and unusual forms.

(5)The translator should assemble and liaise words eloquently to avoid clumsiness.(Robinson, Douglas 1997: 95~96)

From the five translation principles put forward by Dolet, he advocated free translation, especially he didn't advocate rigid literal translation and paid attention to the beauty of the translation. Articles 1 and 2 can be regarded as the necessary conditions for translators. The latter three advocate that translators should use fresh language expressions, avoid using rare Greek or Latin words, but use natural and fluent forms in the target language in order to improve the social status and influence of French, Italian, German and Spanish after the disintegration of Latin. These five principles emphasized that the translator cannot follow the master like a slave, being obedient and using word for word translation method which show that the translator is poor in skills and lacks rich lexical expression. In Dolet's view, translation is the translation of meaning, not words. In order to express the author's intention, the translator has the right to adjust and reverse the sentence pattern of the translation.

====2.2 Martin Luther: the Tongue of the Common Man====

Martin Luther (1483-1546) is a German religious reformer and translator in the 16th century. As a translator of the German version of ''The Bible'', he is known as the father of German language and literature. His discussion on translation is mainly recorded in ''The Circular Letter''(1530).

For hundreds of years, people have been used to going to church to listen to ''The Bible'', because under the control of Catholicism, ordinary people have no right to read it by themselves. Luther's translation of the obscure Latin ''Bible'' into contemporary popular German is a great revolution, which is as valuable as his religious revolution. When he translated the language of God into contemporary German, he hoped that the German version of the book would be converted into different dialects, put in people's hands and enter into everyone's heart. Once ''The Bible'' translated by Luther was published, ordinary people directly heard the call of God. Luther believed that the German version he translated must be clear and easy to understand. Therefore, he systematically formulated the translation principles. This popular and fluent translation method aimed to be free from the influence of previous established translations, because free translation was also a weapon for Luther to resist the church. His main translation principles are:

(1) The purpose and the original text that the reader cannot understand should be translated freely.

(2) When translating, we should give priority to the meaning and subject content of the text, and don't stick to the grammar of the original text.

(3) Try to use a language that is easy to understand by ordinary people.

(4) Metaphors and idioms in rhetoric can be translated into non figurative language.

(5) Adhere to the reader centered orientation.

In the use of the target language, Luther did not sanctify the target language, but broke the symbol system of it. Sometimes in order to inject vitality, Luther used the people's oral language to break the coherence of the target language and pay attention to people's personal understanding and personality, which undoubtedly strengthened the social communication of the translation. However, the fluency of the translation was not at the expense of the accuracy. Luther's Bible was also very accurate in information transmission. Because the language used by Luther in translating the Bible was a vivid language loved by the people, his translation was welcomed by the people, and has been spread for a long time. Luther's basic translation principle was “You must ask the mother at home，the children in the street, the ordinary man in the market and look at their mouth, how they speak,and translate that way; then they'll understand and see that you’re speaking to them in German.“ So, easy to understand was the most fundamental purpose of Luther's translation. (Munday, Jeremy 2001: 38.)

====2.3 William Tyndale: A Men Who Has Dedicated His Life to Translation====

During the Renaissance, the Englishman who died for translation is William Tyndale (1494 - 1536). He is the most influential Bible translator in the English language. The three most famous Bibles ——''Geneva Bible'', ''The Douay-Rheims Bible'' and ''The King James' Bible'' in the 16th and 17th centuries are all influenced by the translation of ''Tyndale Bible'', especially ''The King James' Bible''.

Tyndale was born in Gloucestershire, England. He studied at Oxford University in his early years and taught at Cambridge University after graduation. Cambridge's humanistic thought shaped his religious thought. He believed that since religious teachings and practices come from ''The Bible'', it is necessary for British people to read it in their own mother tongue. Inspired by Martin Luther's experience in translating the German version of it, Tyndale was determined to translate an English Bible. At that time, the British Conservatives led by Moore insisted that the law stipulated that the unauthorized translation of ''The Bible'' was punishable by death. Because Tyndale was persecuted by the British church, he had to flee to Germany, where religion was relatively free, to work as a translator. As a humanist, Tyndale exposed the hypocrisy of European religion. The church accused him of "weaving love and vain history and fables to poison young people". In 1536, Tyndale was arrested and burned. All in all, Tyndale's translated works were concise and simple, using popular English words and expressions, which pioneered the generation of English translation of ''The Bible''.

What the enumerated translators have in common is that in order to spread knowledge and distinguish truth, they bravely explore the road that predecessors have not gone through, and can devote their whole life to the sacred cause of translation. At the same time, it can also be said that their translation experience and principles are written with blood and life.

===3. The Incarnation of Muse: Poetics of Translation===
Muse (Μουσαι in Greek, muses in Latin) is the general name of the goddess of science and art in ancient Greek mythology. It was born of the god Zeus and Mnemosyne, the goddess of memory. The number of Muses is uncertain, some people say there are three goddesses and others nine goddesses. Since the Renaissance, European poets, like stars, have lit the sky over Europe. These poets not only make poetry, but also translate classical poetry, seek inspiration from traditional literature and summarize poetry translation theory. This spectacle is unprecedented.

Western classical translation focuses on the works of ancient Greek and Roman poets Homer, Virgil and Ovid. These translations have greatly improved the form and content of European countries, especially British poetry art, and brought new creative techniques and skills. For example, the introduction of English poetry should first be attributed to the translation of sonnets. The original form of fourteen line lyric poem originated from Italy is abbaabba, cdecde (the last six lines can also be cdcdcd). This poetic style has been translated and introduced by Surrey, and then improved by Spencer and Shakespeare to become the English sonnet (abab eded efef gg).

Muse, the goddess of literature and art in the west, is fond of English poets. The translation works of Chapman, Dryden, Pope, Shelley and other poets fully reflect the principle of "translating poetry in the poetic way". Their poetry translation practice and theory have been perfectly combined to form a unique literary translation theory.
====3.1 George Chapman: Decorate the Translation with Beautiful Words====
George Chapman (1559-1634) is an English poet, dramatist and translator. Chapman is famous for translating Homer's ''Iliad'' and ''Odyssey''. His translation inspires the British poet John Keats more than a century later (1815), so he writes ''On First looking into Chapman's Homer'', which becomes a masterpiece through the ages.

He worshipped the warrior hero of the Agamemnon family in Greek mythology all his life, which can be seen in his works. This is one of the reasons why he chose to translate Homer's works. In 1611, he completed the translation of the ''Iliad'' in sonnets. In 1616, he finished translating the ''Odyssey'' in the poetic style of heroic antithesis. His translation has become one of the most popular works in the history of English literature and played a connecting role in the history of literature. For 200 years after its publication, its translation has been the standard English translation of Homer's works. Chapman's theory of translation criticism can be seen from his translation of the preface written in the ''Iliad'':

That those translators stick in, that affect

Their word-for word traditions( where they lost )

The free grace of their natural dialect,

And shame their authors with a forced gloss)

More license from the words than may express

Their full compression, and make clear the author;

From whose truth, if you think my feet digress,

Because I use needful paraphrases...

( Extract from The Preface to the Reader of the Translation of ''Iliad'')

From Chapman' s translation practice and theory, there are several principles worth summarizing: (1) adhere to translating poetry in poetic way. (2) oppose word for word translation and focus on free translation. (3) adopt the "interpretation" method, advocate that the translation should be decorated. (4) translator should try to show the author's intention. Chapman pays equal attention to translation practice and theory. On the one hand, he pays attention to summarizing translation experience, on the other hand, he has clear principles as translation guidance. At the same time, the deep study of Homer's works and the poetic flavor of poetry are also the reasons for his success. Now let's take a look at a passage in his translation of the ''Iliad'':

All grave old man, and soldiers they had been, but for age

Now left the wars; yet Counselors they were exceeding sage

And as in well grown woods, on trees, cold spinier grasshoppers

Sit chirping and send voices out that scarce can piece our ears

For softness and their weaker faint sounds; so( talking on the tower )

These Seniors of the people sat, who, when they saw the power

Of beauty in the Queen ascend, even those cold-spirited peers,

Those wise and almost withered men, found this heat in their years

That they were forced( though whispering )to say: what men can blame.

The Greeks and Trojans to endure, for so admired a Dame,

So many miseries, and so long? (''Iliad'', iii, 159-169)

Chapman’ s translation was concrete and vivid, with abundant emotion. His rhythm was infectious. However, the addition method of Chapman was often criticized. For example, Homer asked Hector to say, "For well I know this in my mind and in my heart, the day will be, when scaled Troy shall perish." Chapman' s poem is:

And such a stormy day shall come，in mind and soul I know，

When scared Troy shall shed her towers, for tears of overthrow. (Wang Zuoliang, He Qishen 1994: 85)

The translation is rhyming, antithetical and neat, but "mind and soul", "storm", "towers" and "teams" are added. Optimistically,the translator has rich imagination. Negatively, the translator's fantasy destroys faithfulness. In any case, Chapman' s translation style is magnificent and beautiful, reflecting the gorgeous rhetoric of the Renaissance translation and the translator's deep literary foundation. No wonder Keats felt like "seeing a new star surge into the horizon" . Homer's style is fresh, simple, clear, direct, vivid and powerful. Chapman strives to reproduce Homer's epic features in diction, sentence making and style. He has practiced poetry translation and summed up translation theory. This was rare in England from the 16th to 17th centuries: "the task of a competent and valuable translator is to abide by the sentences, rhetoric and language forms used by his original author, abide by his true meaning and depth, and then decorate them with rhetoric and language forms suitable for the language of the translation itself." (Wang Zuoliang, He Qishen 1994: 82)

Nevertheless, because Chapman translated Homer's epic in sonnets and tried to create something in phonology, the sonnets still did not conform to the style of Homer's epic, but they made some progress compared with Milton's translation with blank poems. Chapman also translated Ovid' s ''Feast of Sound and Color'' . His free translation method can fully reflect the deep meaning of the original work and was the best way to translate Homer's poetry. Chapman regarded the translation of Homer's epic as a major event in his life and believed that he was born to translate Homer's epic. His poetry translation theory filled the gap of translation theory in the late 16th century and has been inherited and developed by poetry translators from the 17th to 18th centuries.

====3.2 John Denham: Fluent Poetry Translation====

John Denham (1615 - 1669) is the most famous poet and translator in England in the mid-17th century. When he was young, he went to Oxford to study law, but he never worked as a attorney. He becomes famous because he translated the epic ''Aeneas'' written by Virgil, an ancient Greek tragedy. Later, his poetry also makes him famous in the literary world. (Nida, Eugene 1964: 145)

Denham' s translation theory is mainly reflected in his two articles on translation. One is ''To Sir Richard Fanshawe upon his translation of pastor Fido'' (1648), and the other is The preface of his translation of Aeneas, ''The Destruction of Troy'' (1656) He believes that art expresses nature in a harmonious and elegant way, so the translator should go beyond the constraints of form and create a novel translation. The translation of literary works is different from the translation of religious and disciplinary works, the former can be less faithful, and the translation of ''Aeneas'' adopts the method of translating poetry in the poetic way, pays attention to the legal effect of poetry, and has achieved good results.

Specifically, Denham' s translation theories include:

(1) Denham follows a "neoclassicism" path ". The translation method pursues a new translation method, that is, the translator should innovate, especially in the charm of poetry. Translation should give full play to the advantages of the target language. This process of using the target language to accultrate the original text is also the domestication translation method. This innovative translation method is deeply influenced by the free translation method advocated by France in the 17th century, that is, the translation should be beautiful. Although Denham pursues the elegance and beauty of his translation, his translation is basically faithful. His free translation mainly focuses on the artistic conception or "poetry for poetry", rather than the translated vocabulary.

(2) Denham believes that the translator and the author enjoy the same status. As a poet and translator, he believes that the translator has the right to extract the core part from the original text and recreate it in the target language. If there is a key word in Denham's translation theory, it is "fluency", as if the translation is not like the translation, but more like creation. In this way, the sentence pattern of the original text can be rewritten, the unclear meaning can be clarified, the smooth poetic rhythm and form can be used, the irregular structure can be avoided, and the pause can be used to strengthen the coherence of poetic sentence patterns. Denham' s fluent translation makes people feel that reading his translation is not reading the translation, but reading the original English work. Therefore, he is known as "Virgil" in Britain.

(3) The translator has his own choice and motivation. Denham chooses the free translation method and the translation of ''Aeneas'' has its own purpose: the relationship between the king and his descendants in the Trojan story will remind the reader of Britain at that time. He hopes to give cultural support to the English monarch through the translation of such a work. There is an imaginary connection between Troy's pedigree and the defeated Caroline government at that time. This kind of ideological manipulation and rewriting confirms his translation It serves the royalists. Therefore, his translation is very flexible and has more freedom than other translators.

====3.3 John Dryden: Three Principles of Translation====

John Dryden (1631 - 1700), an English poet, translator and dramatist, is the most influential critic in Britain in the 17th century. His literary criticism has influenced the following two centuries. As a translation theorist, his discourse on translation is considered to be the most systematic in western translation theory before the 17th century.

The three translation types (1680) divided by Dryden and the three translation principles (1797) of Tytler all advocated to talk about translation in civilian rather than pretentious academic language, which is why their translation theory is still used today. As the "the first translation theorist" so far, Dryden' s translation views were mainly reflected in the translation of the ''Preface to Ovid' s Epistles''. Dryden classified three types of translation as follows:

All translations,I suppose, may be reduced to these three heads.

(1)First, that of metaphrase，or turning an author word by word, and line by line, from one language into another. Thus, or near this manner, was Horace his ''Art of Poetry'' translated by Ben Jonson.

(2)The second way is paraphrase, or translation with latitude, where the author is kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that is admitted to be amplified, but not altered. Such is Mr. Walter' s translation of Virgil's fourth ''Aeneid''.

(3)The third way is that of imitation, where the translator( if now he has not lost that name) assumes the liberty, not only to vary from the words and sense, but to forsake them both as he sees occasion; and taking some hints from the original, to run division on the groundwork, as he pleases. Such is Mr. Cowley' s practice in turning two Odes of Pindar, and one of Horace, into English.

Among the three translation methods, Dryden is most opposed to Ben Jonson' s word for word translation, that is, literal translation. It is considered that this translation method is like "tis much like dancing on ropes with fed legs", which mechanically imitates the original text, but can not be separated from the constraints of its grammar, sentence pattern and poetic rhythm, so that its semantics is obscure. As for the great freedom of imitation translation, the purpose of the translator is to imitate the previous works in subject content and literary form, neither translated words nor translated meaning. Therefore, literal translation and imitation translation are the two most extreme forms of translation, and translators should take warning. Free translation is the translation method advocated by Dryden. The so-called free translation means that the translator must have a limit of freedom. He should always see the author and not lose his way. From this point of view, Dryden insists that poetry translation must "translate poetry with poetry", that is, the person who translates poetry must be a poet, so that he can understand the charm of the original and better express it in the target language and aesthetic language.

The three classifications of Dryden' s translation have a great influence on the western translation theory in the 20th century. They are an indispensable part of western translation theory. His translation theory represents the peak of the development of English and criticism theory in the 17th century.

====3.4 Alexander Pope: Translation of Homer Epic====

Alexander Pope (1688-1744) is an important poet and translator in the Enlightenment period of the 18th century. His ''An Essay on Criticism'' (744 lines) is written in antithetical verses, expounding the aesthetic principles of classical literature and art, and establishes Pope's position in the history of English literature. Pope became famous for translating Homer's epics and won a reward of 10000 pounds and a great reputation.

Pope's translation of Homer's epic is accused by translation critics of not rhyming and reading like an 18th century Englishman. In other words, Pope's translation of Homer's epic is not so much a reflection of Homer's style as Pope's own style. His translation is full of personal characteristics and idioms. But when discussing translation, Pope said that his translation is better than those full of translation cavity. His main translation views are recorded in the translation preface of the ''Iliad''. Pope's translation theory is very similar to Dryden' s: (1) he advocates free translation and maintains the beauty of poetry translation. (2) it is the sacred mission of the translator not to add or delete arbitrarily in translation. (3) the relationship between literal translation and free translation is dialectical. Literal translation can not reproduce the beautiful meaning of the original text, but it is wrong to make up for it by hasty free translation. (4) servile loyalty to the literal meaning will only damage the poetic style of the original text. (5) the plain and clear style of Homer's epic in modern language is not a lesson. Translation should reflect the main characteristics of the original: when talking about the beauty and defects of the original, we should talk about the translation, which is the embodiment of the main characteristics of it. As long as the main parts of the original poem show the contents such as fables, etiquette and emotion, no translator will save and compress them out of his own prejudice. The same is true for the translation of every image, description and simile. If we save too much translation, it will weaken the main characteristics of the original poem.

In Pope's view, the translator should not only grasp the characteristics of the original text, but also deal with the idioms and metaphors in Homer's epic, strive to reproduce the image of the original text, and can not be arbitrarily deleted due to personal prejudice. The beautiful and noble poetic features of the original text should also be reproduced in the translation. Pope is often criticized for some affectation and arbitrary play. The accusation of the former may be related to Pope's neoclassicism. Arbitrary play is a major feature of some humanist translators.

Generally speaking, Pope adopts the domestication translation method to explain, understand and translate the original work with the poetic concepts of the Enlightenment period, in order to maintain a smooth and natural poetic flavor in the target language. Compared with the other two translators of Homer's epics Chapman and R. lattinmore, Pope's translation is generally very neat and elegant, reproducing the style of neoclassicism. Chapman' s translation is beautiful, while the translation of R. lattinmore, a translator in the 20th century, is fresh and casual. In general, Pope's translation of Homer's epic is neat and reproduces Homer's poetic flavor, charm to a certain extent.

===4. The National and World Visions of Translation===

The 17th century to the 19th century is the climax of the development of modern western translation theory. A large number of writers and translators with world reputation have sprung up in Britain, France and Germany. Generally speaking, the free translation school originated in France in the 17th century and had a great influence on Britain. There were many innovations in translation theory in Britain from the 17th to the 18th century. The discussion at this stage mainly focused on the translation of classical poetry. In Germany, with the emergence of “Stum and Drang, Storm and Stress” and Romanticism in the 18th and 19th centuries, German Conservatism has showed up.

The 19th century, represented by the "Stum and Drang, Storm and Stress", is a period of great development of German Conservatism, represented by the "German Romanticism", which is also a stage of the transition of literary and artistic forms from classicism to Romanticism, which can also be said to be the romanticism in the naive period. The central representatives of this movement are the famous writers Goethe and Schiller. Goethe's ''The Troubles of Young Witt'' is the representative work of this period, expressing the conflict of human inner feelings and the spirit of striving. This movement lasted for nearly 30 years, from 1765 to 1795, and then was replaced by the mature romantic movement. A large number of linguists, writers and translation theorists such as Herder, Goethe, Humboldt, Schleiermacher, Holderlin and Schlegel came on stage one after another. They translated a considerable number of classical works of ancient Greece and Rome, also translated and introduced a large number of works of other European countries (such as the translation of Shakespeare's plays). German literature in this period has won a great reputation all over the world. Due to the participation of the above-mentioned literature, German translation activities and translation research have also reached an unprecedented zenith, which has laid a solid foundation for western translation theory in the 20th century.

====4.1 Language Shapes the National Identity: Johann Gottfried Herder and Wilhelm von Humboldt====

The humanistic thoughts sweeping the whole Europe, such as humanism, classicism, enlightenment, “Stum and Drang, Storm and Stress” and romanticism, make the relationship between European countries closer and closer. These movements provide important conditions and environment for the birth of translation theory. Herder and Humboldt demonstrated the relationship between language, translation and national identity from the perspective of language.

Johann Gottfried Herder (1744 - 1803) is a pioneer of the German rapid movement. As a forerunner of the enlightenment movement, Herder always focuses on how to use translation to transform German literature. In his opinion, the growth of German national literature is inseparable from translation. His views on translation are scattered on the origin of language, on the more recent German literature and other works. These views on language and translation have a great impact on language education and translation circles. From the perspective of language, he believes that speech is invented by man, and language represents rationality: "Without language, man has no reason and without reason no language." Herder's view of language nature opposes taking language as a simple tool and medium. He believes that language is a national organism, which can best reflect the national spirit and national soul (Volksgeist) , is the bond that forms the nation-state. Whoever loses his own language loses his identity and patriotism. Germans should be proud of their language and nation. Herder and Humboldt put forward that language determines thinking, which not only provides a basis for the self hypothesis theory two centuries later, but also gives a view of the uncertainty and untranslatability of translation buried the foreshadowing. (Rousseau, Jean Jacques and John Gottfried Herder 1986: 121)

Herder opposes the deification of language and insists on explaining the generation of language from the perspective of naturalism. He believes that rationality is the key to the origin of language. He tries to provide a natural rather than reductionist explanation for human characteristics and creativity, and seeks the origin of language in human natural characteristics. Herder's natural reductionism is not only used to explain the origin of language, but also the power of natural interpretation is extended to all fields of culture to reflect the characteristics of human creation, such as art, religion, law, etc. Through the power of natural interpretation, they are included in a scientific world outlook. This language turning point fundamental. Its significance is that people begin to pay real attention to the problems of language itself, such as the essence of language, the relationship between language and rationality, how language can be expressed, etc. Then Humboldt inherited and developed Herder's view. Language blindness is no longer just a vassal of rationality, a simple tool. From then on, he began to get out of the influence of theology and gradually formed an independent philosophy of language.

Herder's views had a great impact on Humboldt.

Wilhelm von Humboldt (1767-1835) is the most influential linguist, philosopher and educational reformer in the West.

Humboldt's main translation views are:

(1) Language determines thought and culture. A language is the reflection of real life. Language has unique national characteristics, and the languages of different nationalities reflect their cultural characteristics. Different languages reflect the world outlook of different nationalities. It emphasizes the reaction of language to thinking: language determines thought and mode of thinking, and different languages have different schemata to understand the world. Translation consists of different languages and forms different language schemata. Therefore, equivalence in translation is impossible.

(2) The more you know a language, the greater the distance between nations. This is because different nations have different world views and different language habits. From this point of view, because we are aware of the great differences between different languages, we believe that it is impossible to achieve complete equivalence. Therefore, mutual translation between languages is impossible.

(3) Translation should deeply understand the era, atmosphere and character of the original author, and strive to avoid the obscure side of the translation and ensure the readability of the translation.

(4) The phonological beauty of poetry and drama translation must be maintained. Meter pattern is the key to all beauty.

Humboldt' s contribution to translation theory is that he is aware of the tension and contradiction of translation. He does not recognize the existence of a universal conceptual system beyond language boundaries. Therefore, his view of translation was interpreted as the representative of untranslatability in the 20th century. Because there are two meanings of "ubersetzen" and "dolmesschen" in German translation, "understanding" always carries "pre-understanding", that is, with personal subjective vision or prejudice, it is impossible to completely reach a consensus between different individuals. "Dolmesschen" let us have the opportunity to enter the commonness of language, which enables translation to cross specific social and cultural factors, and it is possible to understand each other between languages, so there is a reason to seek equivalence in translation. This is Humboldt' s dualism of language and translation.

====4.2 The Soaring Literary Translation: Johann Wolfgang Goethe and Friedrich Holdern====

Johann Wolfgang Goethe (1749-1832) is the greatest poet, translator and outstanding representative of Romanticism in Germany.

To sum up, Goethe believes that translation can be divided into three types.

(1) Facing different types of readers, we need different types of translation. In poetry and truth, he said, "if you want to influence the masses, a simple translation is always the best. Critical translations vying with the original really are of use only for conversations the learned conduct among themselves."(Lefevere, Andrew 1992: 75)

(2) Adaptation or imitation translation. "The second stage is that the translator translates contentedly according to his own wishes. Even if the translator tries to integrate himself into foreign situations, I would rather call this stage imitation stage."(Lefevere, Andrew 1992: 75)

(3) Pay attention to rhythmic literal translation sentence by sentence. Homer's ''Odyssey'' and ''Iliad'' translated by German Translator J. h. Voss made him famous overnight. His translation has beautiful rhythm and intonation and accurate choice of words and sentences. Although the public could not accept the strict literal translation rhythm at first, it gradually recognized it later. Goethe emphasizes that public taste can be shaped through translation.

Among all these three types of translation, Goethe most appreciates the literal translation that pays attention to rhythm, because as a poet, he takes into account the poetic characteristics such as meter pattern and rhythm, which are the true qualities of the original author. Goethe mentioned two principles of Translation: first, foreign writers move closer to the target language, so that his works look the same as the target language writers; Second, readers cross the border to adapt to foreign customs and language characteristics.

Goethe's translation theory is based on his romantic aesthetics. He believes that literal translation can not only convey the information of the original text, but also express the beauty of the translation.

Friedrich Holderlin (1770-1843) is the greatest lyric poet in the German Romantic period.

Holderlin advocates that every language of human beings is derived from the same basic language form, that is, what Benjamin called "pure language". Not only translation, but also creation should return to this ancient source. In translation practice, translators should adhere to literal translation, reflecting the heterogeneity of the original text. In modern poetics and translation studies, Holderlin' s language ontology is mainly based on the view of looking for "words beyond speech". This literal translation brings, of course, lexical obscurity, and Holderlin believes that the more obscure the translation, the more enlightening the tension. This poetic dialectics undoubtedly has a mystical point of view. It is very interesting that in the 20th century, people talked most about the essence of translation. The main point of view related to the essence of translation comes from Holderlin, a "firm guardian of letters" of the literal translation school. He created endless topics for translation. To some extent, Holderlin is the prophet of contemporary translation theory.

===5. Conclusion===

To sum up, as an important stage in the development of Western culture, humanistic trend cannot show up without the practice of cultural translation. As a part of the social thought at that time, translation thought is related to the social and cultural context in that period. Like other social trends at that time, translation thoughts in the period of the Renaissance and the Religious Reformation have played an important role in the evolution of the history of western translation, both returning to the original period and moving towards the new era. Humanistic trend is a turning point in the history of western translation. In short, the emergence of humanistic trend on the historical stage indicates that translation practice and theory have broken away from the "dark" Middle Ages and makes a huge step forward".

===References===

Bassnett, Susan. (1980) Translation Studies. London and New York: Methuen.

Lefevere, Andrew. eds. (1992) Translation/History/Culture: A Source Book. London : Routledge.

Munday, Jeremy. (2001) Introducing Translation Studies : Theories and Applications. London/New York : Routledge.

Nida, Eugene. (1964) Toward A Science of Translating. Leiden: E. J. Brill.

Robinson, Douglas. (1997) Western Translation Theory : from Herodotus to Nietzsche. Manchester : St. Jerome Publishing.

Rousseau, Jean Jacques and John Gottfried Herder. (1986) On the Oringin of Language. Chicago : The University of Chicago Press.

Tan Zaixi tan 谭载喜(2004). 西方翻译简史 A Brief History of Western Translation. 北京：商务印书馆 Beijing: The Commercial Press.

Wang Zuoliang, He Qishen 王佐良、何其莘(1996). 英国文艺复兴时期文学史 A History of English Renaissance Literature. 北京：外语教学与研究出版社 Beijing: foreign Language Teaching and Research Press.

Wang Zuoliang, He Qishen 王佐良，何其莘(1994). 英国文艺复兴时期的文学史 A History of English Renaissance Literature 北京：外语教学与研究出版社 Beijing: foreign Language Teaching and Research Press.

Xie Tianzhen 谢天振(2014). 中西翻译简史 A Brief History of Chinese and Western Translation. 北京：外语教学与研究出版社 Beijing: foreign Language Teaching and Research Press.

Yao Xiaoping 姚小平(1998). 赫尔德论语言的起源译本 The Translation of Herder' s Treatise on the Origin of Language 北京：商务印书馆 Beijing: The Commercial Press.

Written by --[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 08:38, 9 December 2021 (UTC)

Hist Trans Theo EN 12

2021-12-16T03:07:34Z

Wei Zhaoyan: /* 12 魏兆妍 The Humanistic Trend in Western Translation Theory from the 14th to the 19th Century */

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=12 魏兆妍 The Humanistic Trend in Western Translation Theory from the 14th to the 19th Century=
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'''The Humanistic Trend in Western Translation Theory from the 14th to the 19th Century'''

14世纪至19世纪西方翻译理论中的人文主义思潮

Wei Zhaoyan 魏兆妍 Hunan Normal University, China

===Abstract===
From the 14th century, Europe began to enter into the Renaissance, and the Christian world view gradually degenerated with the emergence of individual centered humanism. People who submitted to God were regarded as rational and unique individuals, emphasizing their creative potential and giving full play to their talents. With the invention of printing in the 15th century, education and schools began to be open to the public. Reading translated works from different countries was no longer a noble enjoyment. Words and information were transmitted in all directions and more quickly through translation. Translation was called the forerunner of the Renaissance. It can be said that without translation, there would be no European Renaissance and humanistic thought. In Europe, the writers, thinkers and scholars in this period were also translators who knew several languages, and we can see that translation and creation were closely linked. This paper will focus on the humanistic trend in western translation theory from the 14th to the 19th century, and will also enumerate the representative figures and their translation ideas in this period.

===Key words===
Humanistic trend, Western translation theory, Poetics of translation, National and world visions

===摘要===

从14世纪开始，欧洲进入了文艺复兴时期，基督教世界观随着以个人为中心的人文主义的出现而逐渐退化。顺从上帝的人被视为理性而独特的个体，他们强调自己的创造潜力，充分发挥自己的才能。随着15世纪印刷术的发明，教育和学校开始向公众开放。阅读不同国家的翻译作品不再是一种高尚的享受。文字和信息通过翻译向四面八方传播，而且速度更快。翻译被称为文艺复兴的先驱。可以说，没有翻译，就没有欧洲文艺复兴和人文思想。在欧洲，这一时期的作家、思想家和学者也是通晓多种语言的翻译家，可见翻译与创作是紧密相连的。本文将着重探讨14世纪至19世纪西方翻译理论中的人文主义思潮，并列举这一时期的代表性人物及其翻译思想。

===关键词===

人文主义思潮；西方翻译理论；翻译诗学；民族与世界视野

===1. Introduction===

From the 14th century, Europe began to enter into the Renaissance. Dante, the last poet in the middle ages, completed ''The Divine Comedy'' in 1321. In Dante's mind, all human life experience, including life and death, must be explained by Christian faith in order to show its meaning and significance. This Christian worldview gradually degenerated with the emergence of individualism-centered humanism. All beings who submitted to God were regarded as rational, unique and creative individuals. In the past years, translators were servants attached to God. Now they have shifted from God to focusing on the translator. Personal development has become the goal and value of life. Although humanist thinkers, writers and translators still maintain the Christian faith, they put more emphasis on personal creative potential and give full play to people's strengths. The focus of translation activities in this period also shifted from the classics of the Christian Church to the translation of more secular humanistic works.

With the invention of printing in the 15th century, education and schools began to be open to the public. Reading translated works from different countries was no longer a noble enjoyment. Through the wings of translation, words and information were transmitted in all directions and more quickly. For example, Marco Polo (1254-1324) told the story of his travels in China, which spread all over the European continent through printed words. The invention of printing not only brought about a cultural revolution, but also a sharp increase in the number of translations. Translation is known as the forerunner of the Renaissance. It can be said that without translation, there would be no European Renaissance and humanistic thought. Take the role of translation in English literature for example: "Translation played a great role in the British Renaissance: first, as a pioneer, it was countless translated works that first caused the mental climate of humanism. Second, translation was still active in the era of the restoration of the king's government, but attention has turned to French works. In the intervening years, that is, in the half century from 1558 to 1603 when Queen Elizabeth was in office, translation activities were more frequent, and famous translations also appeared the most frequently, which constituted a translation climax in the whole history of English literature. " In the Queen Elizabeth era, translation reached an unprecedented prosperity, and good translations of famous works continued to emerge. In the following 17th to 18th centuries, neoclassical literary translation surpassed the previous stage. Translation was particularly important to the development of modern English language, literature and culture. (Wang Zuoliang, He Qishen 1996: 72）

In Europe, the writers, thinkers and scholars in this period were translators who knew several languages, translation and creation were closely linked. A large number of scholars and poets have expressed their opinions on translation. From the 14th to the 16th century, the most representative was Dante's "untranslatability of literature" in Italy (1265-1321); Erasmus of the Netherlands (1466 - 1536) relied on the translator's language knowledge in the translation of ''The Bible''; The translation of German Luther (1482 - 1546) must adopt the language of the people; The translators in Dore’ s mind (1509-1546) in France must understand the original content, be proficient in two languages, avoid word for word translation, adopt popular form and pay attention to the "five translation principles" of beautiful style; Poetry translation in English Chapman' s(1559-1634) mind can not be stiff translation, and the poetry translation method of "rebuilding a new image" can be used.

From the 17th to the 19th century, the representative figures were as follows. Abranco of France: the translation method of “the beautiful unfaithful ones” which emphasized literariness and readability; Bartow (1731-1780) : accurate translation view of "the author is the master and the translator is the servant"; Dryden (1747-1841) of England: three translation principles of "literal translation, free translation and imitation translation"; Tytler (1747-1814): three translation principles of "the translation must completely reproduce the thought of the original work: the style and tone of the translation must be consistent with the characteristics of the original; the translation must be as smooth as the original." ; Humanistic thinker Herder (1744-1830) of German Romanticism: made a pioneering thinking on the language, nationality and the characteristics of relativism in translation. Goethe (1749-1832) of German: called the translator as "the prophet of the people"; Humboldt (1767-1835): expressed the views on translatability and untranslatability which had a great impact on the 20th century. The foreignization translation method of Schleiermacher (1768-1834) in the later stage has influenced the deconstructive translation theory of the 20th century. For the above representative figures and different translation views, this paper will focus on the humanistic trend and enumerate some of the representatives according to the development sequence of the history of western translation theory.

===2. The "Rebels" Who Change the Traditional Concept of Translation===
Since Jerome, the debate between literal and free translation has begun in the west. The dispute between them actually involves the question of whether translation should be equivalent to the original text, that is, faithfulness, which is also a thread running through western translation theory for more than 2000 years. Since the Renaissance, people have become more and more aware of their own subjectivity, but religious influence is everywhere all the time. As a translator, if he has any unconventional translation behavior, he may be persecuted by spirit and body, even lead to death. A history of western translation can be said to be written in the life and blood of translators to a certain extent.

Between 1536 and 1546, three translators died. Two of them were caused by translation work. They were French translation theorist Dolet, religious reformer and translator Martin Luther as well as British translator William Tyndale.
====2.1 Etiene Dolet: Five Principles of Translation====
In the history of western translation theory, the first humanist to systematically expound translation theory was Etiene Dolet(1509-1546). Dolet is a translator, printer and scholar. He is the first translator suffering from translation since the Renaissance. He is a learned, versatile and liberated translator. His interpretation of classics was regarded as walking between orthodoxy and paganism. The European Church has advocated for a long time that the translation of ''The Bible'' should be literal translation, especially the Roman Catholic Church supported the "correct" and conventional translation of ''The Bible'' . Any interpretation and translation that deviated from the classics may be regarded as heresy, criticized and prohibited, and some adventurous interpreters and translators suffered a horrible fate. In 1546, the Theological Seminary of Sorbonne University in France identified that Dolet added the phrase "whereas you will no longer be anything at all" without foundation in the translation of a paragraph about "existence after human death" in Plato's dialogue ''Axiochus'', then he was burned alive at the stake. This paragraph is as follows:

The original text in Greek: Hoti peri men tous zôntas ouk estin, hoi de apothanontes ouk eisin. hôste oute peri se nun estin, ou gar tethnêkas oute ei ti pathois, estai peri se su gar ouk esei.

The French translation by Dolet: Pour ce qu'il est certain que la mort n'est point aux vivants: et quant aux defuncs, ilz ne sont plus: donques la mort les atouches encore moins. Parquoy elle ne peult rien sur toy, car tu n'est pas encores prest à deceder; et quand tu seras décédé, elle n'y pourra rien aussi，attendu que tu ne seras plus ''rien du tou''. (The text in sixteenth century cited by Ballard and Copley Christie)

The translation in English:Since it is certain death is not at all among the living: and as for the dead, they no longer are: therefore, death touches them even less. And hence death can do nothing to you, for you are not yet ready to die, and when you have died, death will also not be able to do anything, since you will no longer be ''anything at all''.

This paragraph by Plato is an obvious atheist view. It is close to the meaning of "how can you know death when you don't know life" (''The Analects of Confucius''). The original Greek version is abstruse and difficult to understand, and there are omissions in many places. It can't be translated without adding cohesive devices. The three words added in italic French and English in the text only play a role in connecting and do not change the meaning of the original text. Dolet's addition was accused of "blasphemy", because such translation was accused of "denying the eternity of the soul", and it was precisely because he "made" this fatal translation "mistake" that he was burned at the age of 37. This accusation was a typical "unnecessary" accusation. As a translator, Dolet only translated the meaning of the original text and did not understand it improperly. The key was that Plato described Aristotle's conversation, Sorbonne's clergy could not blame Plato, so they had to blame Dolet for adding the three French words “rien du tout” (nothing at all) , because these three words could not be found in Greek or Latin, the church accused him of misunderstanding Plato's intention, blaspheming the gods and not believing in eternity. So, the risk of translation arises.

Because Dolet was persecuted by the clergy to death, his "five principles on translation" was cherished by the western translation field. Dolet's "five principles on translation" came from ''The Way of Translating Well from One Language into Another'' (1540) The excerpts of the original text are as follows:

To translate well from one language into another requires in the main five things:

(1)In the first place, the translator must understand perfectly the sense and matter of the author he is translating, although he should feel free to clarifty obscurities.

(2)The translator should have a perfect knowldgwe of boh SL and IL, so as not to lessen the majesty of the language.

(3) The translator should avoid word for word renderings.

(4)The translator should avoid Latinate and unusual forms.

(5)The translator should assemble and liaise words eloquently to avoid clumsiness.(Robinson, Douglas 1997: 95~96)

From the five translation principles put forward by Dolet, he advocated free translation, especially he didn't advocate rigid literal translation and paid attention to the beauty of the translation. Articles 1 and 2 can be regarded as the necessary conditions for translators. The latter three advocate that translators should use fresh language expressions, avoid using rare Greek or Latin words, but use natural and fluent forms in the target language in order to improve the social status and influence of French, Italian, German and Spanish after the disintegration of Latin. These five principles emphasized that the translator cannot follow the master like a slave, being obedient and using word for word translation method which show that the translator is poor in skills and lacks rich lexical expression. In Dolet's view, translation is the translation of meaning, not words. In order to express the author's intention, the translator has the right to adjust and reverse the sentence pattern of the translation.

====2.2 Martin Luther: the Tongue of the Common Man====

Martin Luther (1483-1546) is a German religious reformer and translator in the 16th century. As a translator of the German version of ''The Bible'', he is known as the father of German language and literature. His discussion on translation is mainly recorded in ''The Circular Letter''(1530).

For hundreds of years, people have been used to going to church to listen to ''The Bible'', because under the control of Catholicism, ordinary people have no right to read it by themselves. Luther's translation of the obscure Latin ''Bible'' into contemporary popular German is a great revolution, which is as valuable as his religious revolution. When he translated the language of God into contemporary German, he hoped that the German version of the book would be converted into different dialects, put in people's hands and enter into everyone's heart. Once ''The Bible'' translated by Luther was published, ordinary people directly heard the call of God. Luther believed that the German version he translated must be clear and easy to understand. Therefore, he systematically formulated the translation principles. This popular and fluent translation method aimed to be free from the influence of previous established translations, because free translation was also a weapon for Luther to resist the church. His main translation principles are:

(1) The purpose and the original text that the reader cannot understand should be translated freely.

(2) When translating, we should give priority to the meaning and subject content of the text, and don't stick to the grammar of the original text.

(3) Try to use a language that is easy to understand by ordinary people.

(4) Metaphors and idioms in rhetoric can be translated into non figurative language.

(5) Adhere to the reader centered orientation.

In the use of the target language, Luther did not sanctify the target language, but broke the symbol system of it. Sometimes in order to inject vitality, Luther used the people's oral language to break the coherence of the target language and pay attention to people's personal understanding and personality, which undoubtedly strengthened the social communication of the translation. However, the fluency of the translation was not at the expense of the accuracy. Luther's Bible was also very accurate in information transmission. Because the language used by Luther in translating the Bible was a vivid language loved by the people, his translation was welcomed by the people, and has been spread for a long time. Luther's basic translation principle was “You must ask the mother at home，the children in the street, the ordinary man in the market and look at their mouth, how they speak,and translate that way; then they'll understand and see that you’re speaking to them in German.“ So, easy to understand was the most fundamental purpose of Luther's translation. (Munday, Jeremy 2001: 38.)

====2.3 William Tyndale: A Men Who Has Dedicated His Life to Translation====

During the Renaissance, the Englishman who died for translation is William Tyndale (1494 - 1536). He is the most influential Bible translator in the English language. The three most famous Bibles ——''Geneva Bible'', ''The Douay-Rheims Bible'' and ''The King James' Bible'' in the 16th and 17th centuries are all influenced by the translation of ''Tyndale Bible'', especially ''The King James' Bible''.

Tyndale was born in Gloucestershire, England. He studied at Oxford University in his early years and taught at Cambridge University after graduation. Cambridge's humanistic thought shaped his religious thought. He believed that since religious teachings and practices come from ''The Bible'', it is necessary for British people to read it in their own mother tongue. Inspired by Martin Luther's experience in translating the German version of it, Tyndale was determined to translate an English Bible. At that time, the British Conservatives led by Moore insisted that the law stipulated that the unauthorized translation of ''The Bible'' was punishable by death. Because Tyndale was persecuted by the British church, he had to flee to Germany, where religion was relatively free, to work as a translator. As a humanist, Tyndale exposed the hypocrisy of European religion. The church accused him of "weaving love and vain history and fables to poison young people". In 1536, Tyndale was arrested and burned. All in all, Tyndale's translated works were concise and simple, using popular English words and expressions, which pioneered the generation of English translation of ''The Bible''.

What the enumerated translators have in common is that in order to spread knowledge and distinguish truth, they bravely explore the road that predecessors have not gone through, and can devote their whole life to the sacred cause of translation. At the same time, it can also be said that their translation experience and principles are written with blood and life.

===3. The Incarnation of Muse: Poetics of Translation===
Muse (Μουσαι in Greek, muses in Latin) is the general name of the goddess of science and art in ancient Greek mythology. It was born of the god Zeus and Mnemosyne, the goddess of memory. The number of Muses is uncertain, some people say there are three goddesses and others nine goddesses. Since the Renaissance, European poets, like stars, have lit the sky over Europe. These poets not only make poetry, but also translate classical poetry, seek inspiration from traditional literature and summarize poetry translation theory. This spectacle is unprecedented.

Western classical translation focuses on the works of ancient Greek and Roman poets Homer, Virgil and Ovid. These translations have greatly improved the form and content of European countries, especially British poetry art, and brought new creative techniques and skills. For example, the introduction of English poetry should first be attributed to the translation of sonnets. The original form of fourteen line lyric poem originated from Italy is abbaabba, cdecde (the last six lines can also be cdcdcd). This poetic style has been translated and introduced by Surrey, and then improved by Spencer and Shakespeare to become the English sonnet (abab eded efef gg).

Muse, the goddess of literature and art in the west, is fond of English poets. The translation works of Chapman, Dryden, Pope, Shelley and other poets fully reflect the principle of "translating poetry in the poetic way". Their poetry translation practice and theory have been perfectly combined to form a unique literary translation theory.
====3.1 George Chapman: Decorate the Translation with Beautiful Words====
George Chapman (1559-1634) is an English poet, dramatist and translator. Chapman is famous for translating Homer's ''Iliad'' and ''Odyssey''. His translation inspires the British poet John Keats more than a century later (1815), so he writes ''On First looking into Chapman's Homer'', which becomes a masterpiece through the ages.

He worshipped the warrior hero of the Agamemnon family in Greek mythology all his life, which can be seen in his works. This is one of the reasons why he chose to translate Homer's works. In 1611, he completed the translation of the ''Iliad'' in sonnets. In 1616, he finished translating the ''Odyssey'' in the poetic style of heroic antithesis. His translation has become one of the most popular works in the history of English literature and played a connecting role in the history of literature. For 200 years after its publication, its translation has been the standard English translation of Homer's works. Chapman's theory of translation criticism can be seen from his translation of the preface written in the ''Iliad'':

That those translators stick in, that affect

Their word-for word traditions( where they lost )

The free grace of their natural dialect,

And shame their authors with a forced gloss)

More license from the words than may express

Their full compression, and make clear the author;

From whose truth, if you think my feet digress,

Because I use needful paraphrases...

( Extract from The Preface to the Reader of the Translation of ''Iliad'')

From Chapman' s translation practice and theory, there are several principles worth summarizing: (1) adhere to translating poetry in poetic way. (2) oppose word for word translation and focus on free translation. (3) adopt the "interpretation" method, advocate that the translation should be decorated. (4) translator should try to show the author's intention. Chapman pays equal attention to translation practice and theory. On the one hand, he pays attention to summarizing translation experience, on the other hand, he has clear principles as translation guidance. At the same time, the deep study of Homer's works and the poetic flavor of poetry are also the reasons for his success. Now let's take a look at a passage in his translation of the ''Iliad'':

All grave old man, and soldiers they had been, but for age

Now left the wars; yet Counselors they were exceeding sage

And as in well grown woods, on trees, cold spinier grasshoppers

Sit chirping and send voices out that scarce can piece our ears

For softness and their weaker faint sounds; so( talking on the tower )

These Seniors of the people sat, who, when they saw the power

Of beauty in the Queen ascend, even those cold-spirited peers,

Those wise and almost withered men, found this heat in their years

That they were forced( though whispering )to say: what men can blame.

The Greeks and Trojans to endure, for so admired a Dame,

So many miseries, and so long? (''Iliad'', iii, 159-169)

Chapman’ s translation was concrete and vivid, with abundant emotion. His rhythm was infectious. However, the addition method of Chapman was often criticized. For example, Homer asked Hector to say, "For well I know this in my mind and in my heart, the day will be, when scaled Troy shall perish." Chapman' s poem is:

And such a stormy day shall come，in mind and soul I know，

When scared Troy shall shed her towers, for tears of overthrow. (Wang Zuoliang, He Qishen 1994: 85)

The translation is rhyming, antithetical and neat, but "mind and soul", "storm", "towers" and "teams" are added. Optimistically,the translator has rich imagination. Negatively, the translator's fantasy destroys faithfulness. In any case, Chapman' s translation style is magnificent and beautiful, reflecting the gorgeous rhetoric of the Renaissance translation and the translator's deep literary foundation. No wonder Keats felt like "seeing a new star surge into the horizon" . Homer's style is fresh, simple, clear, direct, vivid and powerful. Chapman strives to reproduce Homer's epic features in diction, sentence making and style. He has practiced poetry translation and summed up translation theory. This was rare in England from the 16th to 17th centuries: "the task of a competent and valuable translator is to abide by the sentences, rhetoric and language forms used by his original author, abide by his true meaning and depth, and then decorate them with rhetoric and language forms suitable for the language of the translation itself." (Wang Zuoliang, He Qishen 1994: 82)

Nevertheless, because Chapman translated Homer's epic in sonnets and tried to create something in phonology, the sonnets still did not conform to the style of Homer's epic, but they made some progress compared with Milton's translation with blank poems. Chapman also translated Ovid' s ''Feast of Sound and Color'' . His free translation method can fully reflect the deep meaning of the original work and was the best way to translate Homer's poetry. Chapman regarded the translation of Homer's epic as a major event in his life and believed that he was born to translate Homer's epic. His poetry translation theory filled the gap of translation theory in the late 16th century and has been inherited and developed by poetry translators from the 17th to 18th centuries.

====3.2 John Denham: Fluent Poetry Translation====

John Denham (1615 - 1669) is the most famous poet and translator in England in the mid-17th century. When he was young, he went to Oxford to study law, but he never worked as a attorney. He becomes famous because he translated the epic ''Aeneas'' written by Virgil, an ancient Greek tragedy. Later, his poetry also makes him famous in the literary world. (Nida, Eugene 1964: 145)

Denham' s translation theory is mainly reflected in his two articles on translation. One is ''To Sir Richard Fanshawe upon his translation of pastor Fido'' (1648), and the other is The preface of his translation of Aeneas, ''The Destruction of Troy'' (1656) He believes that art expresses nature in a harmonious and elegant way, so the translator should go beyond the constraints of form and create a novel translation. The translation of literary works is different from the translation of religious and disciplinary works, the former can be less faithful, and the translation of ''Aeneas'' adopts the method of translating poetry in the poetic way, pays attention to the legal effect of poetry, and has achieved good results.

Specifically, Denham' s translation theories include:

(1) Denham follows a "neoclassicism" path ". The translation method pursues a new translation method, that is, the translator should innovate, especially in the charm of poetry. Translation should give full play to the advantages of the target language. This process of using the target language to accultrate the original text is also the domestication translation method. This innovative translation method is deeply influenced by the free translation method advocated by France in the 17th century, that is, the translation should be beautiful. Although Denham pursues the elegance and beauty of his translation, his translation is basically faithful. His free translation mainly focuses on the artistic conception or "poetry for poetry", rather than the translated vocabulary.

(2) Denham believes that the translator and the author enjoy the same status. As a poet and translator, he believes that the translator has the right to extract the core part from the original text and recreate it in the target language. If there is a key word in Denham's translation theory, it is "fluency", as if the translation is not like the translation, but more like creation. In this way, the sentence pattern of the original text can be rewritten, the unclear meaning can be clarified, the smooth poetic rhythm and form can be used, the irregular structure can be avoided, and the pause can be used to strengthen the coherence of poetic sentence patterns. Denham' s fluent translation makes people feel that reading his translation is not reading the translation, but reading the original English work. Therefore, he is known as "Virgil" in Britain.

(3) The translator has his own choice and motivation. Denham chooses the free translation method and the translation of ''Aeneas'' has its own purpose: the relationship between the king and his descendants in the Trojan story will remind the reader of Britain at that time. He hopes to give cultural support to the English monarch through the translation of such a work. There is an imaginary connection between Troy's pedigree and the defeated Caroline government at that time. This kind of ideological manipulation and rewriting confirms his translation It serves the royalists. Therefore, his translation is very flexible and has more freedom than other translators.

====3.3 John Dryden: Three Principles of Translation====

John Dryden (1631 - 1700), an English poet, translator and dramatist, is the most influential critic in Britain in the 17th century. His literary criticism has influenced the following two centuries. As a translation theorist, his discourse on translation is considered to be the most systematic in western translation theory before the 17th century.

The three translation types (1680) divided by Dryden and the three translation principles (1797) of Tytler all advocated to talk about translation in civilian rather than pretentious academic language, which is why their translation theory is still used today. As the "the first translation theorist" so far, Dryden' s translation views were mainly reflected in the translation of the ''Preface to Ovid' s Epistles''. Dryden classified three types of translation as follows:

All translations,I suppose, may be reduced to these three heads.

(1)First, that of metaphrase，or turning an author word by word, and line by line, from one language into another. Thus, or near this manner, was Horace his ''Art of Poetry'' translated by Ben Jonson.

(2)The second way is paraphrase, or translation with latitude, where the author is kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that is admitted to be amplified, but not altered. Such is Mr. Walter' s translation of Virgil's fourth ''Aeneid''.

(3)The third way is that of imitation, where the translator( if now he has not lost that name) assumes the liberty, not only to vary from the words and sense, but to forsake them both as he sees occasion; and taking some hints from the original, to run division on the groundwork, as he pleases. Such is Mr. Cowley' s practice in turning two Odes of Pindar, and one of Horace, into English.

Among the three translation methods, Dryden is most opposed to Ben Jonson' s word for word translation, that is, literal translation. It is considered that this translation method is like "tis much like dancing on ropes with fed legs", which mechanically imitates the original text, but can not be separated from the constraints of its grammar, sentence pattern and poetic rhythm, so that its semantics is obscure. As for the great freedom of imitation translation, the purpose of the translator is to imitate the previous works in subject content and literary form, neither translated words nor translated meaning. Therefore, literal translation and imitation translation are the two most extreme forms of translation, and translators should take warning. Free translation is the translation method advocated by Dryden. The so-called free translation means that the translator must have a limit of freedom. He should always see the author and not lose his way. From this point of view, Dryden insists that poetry translation must "translate poetry with poetry", that is, the person who translates poetry must be a poet, so that he can understand the charm of the original and better express it in the target language and aesthetic language.

The three classifications of Dryden' s translation have a great influence on the western translation theory in the 20th century. They are an indispensable part of western translation theory. His translation theory represents the peak of the development of English and criticism theory in the 17th century.

====3.4 Alexander Pope: Translation of Homer Epic====

Alexander Pope (1688-1744) is an important poet and translator in the Enlightenment period of the 18th century. His ''An Essay on Criticism'' (744 lines) is written in antithetical verses, expounding the aesthetic principles of classical literature and art, and establishes Pope's position in the history of English literature. Pope became famous for translating Homer's epics and won a reward of 10000 pounds and a great reputation.

Pope's translation of Homer's epic is accused by translation critics of not rhyming and reading like an 18th century Englishman. In other words, Pope's translation of Homer's epic is not so much a reflection of Homer's style as Pope's own style. His translation is full of personal characteristics and idioms. But when discussing translation, Pope said that his translation is better than those full of translation cavity. His main translation views are recorded in the translation preface of the ''Iliad''. Pope's translation theory is very similar to Dryden' s: (1) he advocates free translation and maintains the beauty of poetry translation. (2) it is the sacred mission of the translator not to add or delete arbitrarily in translation. (3) the relationship between literal translation and free translation is dialectical. Literal translation can not reproduce the beautiful meaning of the original text, but it is wrong to make up for it by hasty free translation. (4) servile loyalty to the literal meaning will only damage the poetic style of the original text. (5) the plain and clear style of Homer's epic in modern language is not a lesson. Translation should reflect the main characteristics of the original: when talking about the beauty and defects of the original, we should talk about the translation, which is the embodiment of the main characteristics of it. As long as the main parts of the original poem show the contents such as fables, etiquette and emotion, no translator will save and compress them out of his own prejudice. The same is true for the translation of every image, description and simile. If we save too much translation, it will weaken the main characteristics of the original poem.

In Pope's view, the translator should not only grasp the characteristics of the original text, but also deal with the idioms and metaphors in Homer's epic, strive to reproduce the image of the original text, and can not be arbitrarily deleted due to personal prejudice. The beautiful and noble poetic features of the original text should also be reproduced in the translation. Pope is often criticized for some affectation and arbitrary play. The accusation of the former may be related to Pope's neoclassicism. Arbitrary play is a major feature of some humanist translators.

Generally speaking, Pope adopts the domestication translation method to explain, understand and translate the original work with the poetic concepts of the Enlightenment period, in order to maintain a smooth and natural poetic flavor in the target language. Compared with the other two translators of Homer's epics Chapman and R. lattinmore, Pope's translation is generally very neat and elegant, reproducing the style of neoclassicism. Chapman' s translation is beautiful, while the translation of R. lattinmore, a translator in the 20th century, is fresh and casual. In general, Pope's translation of Homer's epic is neat and reproduces Homer's poetic flavor, charm to a certain extent.

===4. The National and World Visions of Translation===

The 17th century to the 19th century is the climax of the development of modern western translation theory. A large number of writers and translators with world reputation have sprung up in Britain, France and Germany. Generally speaking, the free translation school originated in France in the 17th century and had a great influence on Britain. There were many innovations in translation theory in Britain from the 17th to the 18th century. The discussion at this stage mainly focused on the translation of classical poetry. In Germany, with the emergence of “Stum and Drang, Storm and Stress” and Romanticism in the 18th and 19th centuries, German Conservatism has showed up.

The 19th century, represented by the "Stum and Drang, Storm and Stress", is a period of great development of German Conservatism, represented by the "German Romanticism", which is also a stage of the transition of literary and artistic forms from classicism to Romanticism, which can also be said to be the romanticism in the naive period. The central representatives of this movement are the famous writers Goethe and Schiller. Goethe's ''The Troubles of Young Witt'' is the representative work of this period, expressing the conflict of human inner feelings and the spirit of striving. This movement lasted for nearly 30 years, from 1765 to 1795, and then was replaced by the mature romantic movement. A large number of linguists, writers and translation theorists such as Herder, Goethe, Humboldt, Schleiermacher, Holderlin and Schlegel came on stage one after another. They translated a considerable number of classical works of ancient Greece and Rome, also translated and introduced a large number of works of other European countries (such as the translation of Shakespeare's plays). German literature in this period has won a great reputation all over the world. Due to the participation of the above-mentioned literature, German translation activities and translation research have also reached an unprecedented zenith, which has laid a solid foundation for western translation theory in the 20th century.

====4.1 Language Shapes the National Identity: Johann Gottfried Herder and Wilhelm von Humboldt====

The humanistic thoughts sweeping the whole Europe, such as humanism, classicism, enlightenment, “Stum and Drang, Storm and Stress” and romanticism, make the relationship between European countries closer and closer. These movements provide important conditions and environment for the birth of translation theory. Herder and Humboldt demonstrated the relationship between language, translation and national identity from the perspective of language.

Johann Gottfried Herder (1744 - 1803) is a pioneer of the German rapid movement. As a forerunner of the enlightenment movement, Herder always focuses on how to use translation to transform German literature. In his opinion, the growth of German national literature is inseparable from translation. His views on translation are scattered on the origin of language, on the more recent German literature and other works. These views on language and translation have a great impact on language education and translation circles. From the perspective of language, he believes that speech is invented by man, and language represents rationality: "Without language, man has no reason and without reason no language." Herder's view of language nature opposes taking language as a simple tool and medium. He believes that language is a national organism, which can best reflect the national spirit and national soul (Volksgeist) , is the bond that forms the nation-state. Whoever loses his own language loses his identity and patriotism. Germans should be proud of their language and nation. Herder and Humboldt put forward that language determines thinking, which not only provides a basis for the self hypothesis theory two centuries later, but also gives a view of the uncertainty and untranslatability of translation buried the foreshadowing. (Rousseau, Jean Jacques and John Gottfried Herder 1986: 121)

Herder opposes the deification of language and insists on explaining the generation of language from the perspective of naturalism. He believes that rationality is the key to the origin of language. He tries to provide a natural rather than reductionist explanation for human characteristics and creativity, and seeks the origin of language in human natural characteristics. Herder's natural reductionism is not only used to explain the origin of language, but also the power of natural interpretation is extended to all fields of culture to reflect the characteristics of human creation, such as art, religion, law, etc. Through the power of natural interpretation, they are included in a scientific world outlook. This language turning point fundamental. Its significance is that people begin to pay real attention to the problems of language itself, such as the essence of language, the relationship between language and rationality, how language can be expressed, etc. Then Humboldt inherited and developed Herder's view. Language blindness is no longer just a vassal of rationality, a simple tool. From then on, he began to get out of the influence of theology and gradually formed an independent philosophy of language.

Herder's views had a great impact on Humboldt.

Wilhelm von Humboldt (1767-1835) is the most influential linguist, philosopher and educational reformer in the West.

Humboldt's main translation views are:

(1) Language determines thought and culture. A language is the reflection of real life. Language has unique national characteristics, and the languages of different nationalities reflect their cultural characteristics. Different languages reflect the world outlook of different nationalities. It emphasizes the reaction of language to thinking: language determines thought and mode of thinking, and different languages have different schemata to understand the world. Translation consists of different languages and forms different language schemata. Therefore, equivalence in translation is impossible.

(2) The more you know a language, the greater the distance between nations. This is because different nations have different world views and different language habits. From this point of view, because we are aware of the great differences between different languages, we believe that it is impossible to achieve complete equivalence. Therefore, mutual translation between languages is impossible.

(3) Translation should deeply understand the era, atmosphere and character of the original author, and strive to avoid the obscure side of the translation and ensure the readability of the translation.

(4) The phonological beauty of poetry and drama translation must be maintained. Meter pattern is the key to all beauty.

Humboldt' s contribution to translation theory is that he is aware of the tension and contradiction of translation. He does not recognize the existence of a universal conceptual system beyond language boundaries. Therefore, his view of translation was interpreted as the representative of untranslatability in the 20th century. Because there are two meanings of "ubersetzen" and "dolmesschen" in German translation, "understanding" always carries "pre-understanding", that is, with personal subjective vision or prejudice, it is impossible to completely reach a consensus between different individuals. "Dolmesschen" let us have the opportunity to enter the commonness of language, which enables translation to cross specific social and cultural factors, and it is possible to understand each other between languages, so there is a reason to seek equivalence in translation. This is Humboldt' s dualism of language and translation.

====4.2 The Soaring Literary Translation: Johann Wolfgang Goethe and Friedrich Holdern====

Johann Wolfgang Goethe (1749-1832) is the greatest poet, translator and outstanding representative of Romanticism in Germany.

To sum up, Goethe believes that translation can be divided into three types.

(1) Facing different types of readers, we need different types of translation. In poetry and truth, he said, "if you want to influence the masses, a simple translation is always the best. Critical translations vying with the original really are of use only for conversations the learned conduct among themselves."(Lefevere, Andrew 1992: 75)

(2) Adaptation or imitation translation. "The second stage is that the translator translates contentedly according to his own wishes. Even if the translator tries to integrate himself into foreign situations, I would rather call this stage imitation stage."(Lefevere, Andrew 1992: 75)

(3) Pay attention to rhythmic literal translation sentence by sentence. Homer's ''Odyssey'' and ''Iliad'' translated by German Translator J. h. Voss made him famous overnight. His translation has beautiful rhythm and intonation and accurate choice of words and sentences. Although the public could not accept the strict literal translation rhythm at first, it gradually recognized it later. Goethe emphasizes that public taste can be shaped through translation.

Among all these three types of translation, Goethe most appreciates the literal translation that pays attention to rhythm, because as a poet, he takes into account the poetic characteristics such as meter pattern and rhythm, which are the true qualities of the original author. Goethe mentioned two principles of Translation: first, foreign writers move closer to the target language, so that his works look the same as the target language writers; Second, readers cross the border to adapt to foreign customs and language characteristics.

Goethe's translation theory is based on his romantic aesthetics. He believes that literal translation can not only convey the information of the original text, but also express the beauty of the translation.

Friedrich Holderlin (1770-1843) is the greatest lyric poet in the German Romantic period.

Holderlin advocates that every language of human beings is derived from the same basic language form, that is, what Benjamin called "pure language". Not only translation, but also creation should return to this ancient source. In translation practice, translators should adhere to literal translation, reflecting the heterogeneity of the original text. In modern poetics and translation studies, Holderlin' s language ontology is mainly based on the view of looking for "words beyond speech". This literal translation brings, of course, lexical obscurity, and Holderlin believes that the more obscure the translation, the more enlightening the tension. This poetic dialectics undoubtedly has a mystical point of view. It is very interesting that in the 20th century, people talked most about the essence of translation. The main point of view related to the essence of translation comes from Holderlin, a "firm guardian of letters" of the literal translation school. He created endless topics for translation. To some extent, Holderlin is the prophet of contemporary translation theory.

===5. Conclusion===

To sum up, as an important stage in the development of Western culture, humanistic trend cannot show up without the practice of cultural translation. As a part of the social thought at that time, translation thought is related to the social and cultural context in that period. Like other social trends at that time, translation thoughts in the period of the Renaissance and the Religious Reformation have played an important role in the evolution of the history of western translation, both returning to the original period and moving towards the new era. Humanistic trend is a turning point in the history of western translation. In short, the emergence of humanistic trend on the historical stage indicates that translation practice and theory have broken away from the "dark" Middle Ages and makes a huge step forward".

===References===

Bassnett, Susan. (1980) Translation Studies. London and New York: Methuen.

Lefevere, Andrew. eds. (1992) Translation/History/Culture: A Source Book. London : Routledge.

Munday, Jeremy. (2001) Introducing Translation Studies : Theories and Applications. London/New York : Routledge.

Nida, Eugene. (1964) Toward A Science of Translating. Leiden: E. J. Brill.

Robinson, Douglas. (1997) Western Translation Theory : from Herodotus to Nietzsche. Manchester : St. Jerome Publishing.

Rousseau, Jean Jacques and John Gottfried Herder. (1986) On the Oringin of Language. Chicago : The University of Chicago Press.

Tan Zaixi tan 谭载喜(2004). 西方翻译简史 A Brief History of Western Translation. 北京：商务印书馆 Beijing: The Commercial Press.

Wang Zuoliang, He Qishen 王佐良、何其莘(1996). 英国文艺复兴时期文学史 A History of English Renaissance Literature. 北京：外语教学与研究出版社 Beijing: foreign Language Teaching and Research Press.

Wang Zuoliang, He Qishen 王佐良，何其莘(1994). 英国文艺复兴时期的文学史 A History of English Renaissance Literature 北京：外语教学与研究出版社 Beijing: foreign Language Teaching and Research Press.

Xie Tianzhen 谢天振(2014). 中西翻译简史 A Brief History of Chinese and Western Translation. 北京：外语教学与研究出版社 Beijing: foreign Language Teaching and Research Press.

Yao Xiaoping 姚小平(1998). 赫尔德论语言的起源译本 The Translation of Herder' s Treatise on the Origin of Language 北京：商务印书馆 Beijing: The Commercial Press.

Written by --[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 08:38, 9 December 2021 (UTC)

Hist Trans Theo EN 12

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Wei Zhaoyan: /* 3.4 Alexander Pope: Translation of Homer Epic */

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=12 魏兆妍 The Humanistic Trend in Western Translation Theory from the 14th to the 19th Century=
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'''The Humanistic Trend in Western Translation Theory from the 14th to the 19th Century'''

Wei Zhaoyan 魏兆妍 Hunan Normal University, China

===Abstract===
From the 14th century, Europe began to enter into the Renaissance, and the Christian world view gradually degenerated with the emergence of individual centered humanism. People who submitted to God were regarded as rational and unique individuals, emphasizing their creative potential and giving full play to their talents. With the invention of printing in the 15th century, education and schools began to be open to the public. Reading translated works from different countries was no longer a noble enjoyment. Words and information were transmitted in all directions and more quickly through translation. Translation was called the forerunner of the Renaissance. It can be said that without translation, there would be no European Renaissance and humanistic thought. In Europe, the writers, thinkers and scholars in this period were also translators who knew several languages, and we can see that translation and creation were closely linked. This paper will focus on the humanistic trend in western translation theory from the 14th to the 19th century, and will also enumerate the representative figures and their translation ideas in this period.

===Key words===
Humanistic trend, Western translation theory, Poetics of translation, National and world visions

===1. Introduction===

From the 14th century, Europe began to enter into the Renaissance. Dante, the last poet in the middle ages, completed ''The Divine Comedy'' in 1321. In Dante's mind, all human life experience, including life and death, must be explained by Christian faith in order to show its meaning and significance. This Christian worldview gradually degenerated with the emergence of individualism-centered humanism. All beings who submitted to God were regarded as rational, unique and creative individuals. In the past years, translators were servants attached to God. Now they have shifted from God to focusing on the translator. Personal development has become the goal and value of life. Although humanist thinkers, writers and translators still maintain the Christian faith, they put more emphasis on personal creative potential and give full play to people's strengths. The focus of translation activities in this period also shifted from the classics of the Christian Church to the translation of more secular humanistic works.

With the invention of printing in the 15th century, education and schools began to be open to the public. Reading translated works from different countries was no longer a noble enjoyment. Through the wings of translation, words and information were transmitted in all directions and more quickly. For example, Marco Polo (1254-1324) told the story of his travels in China, which spread all over the European continent through printed words. The invention of printing not only brought about a cultural revolution, but also a sharp increase in the number of translations. Translation is known as the forerunner of the Renaissance. It can be said that without translation, there would be no European Renaissance and humanistic thought. Take the role of translation in English literature for example: "Translation played a great role in the British Renaissance: first, as a pioneer, it was countless translated works that first caused the mental climate of humanism. Second, translation was still active in the era of the restoration of the king's government, but attention has turned to French works. In the intervening years, that is, in the half century from 1558 to 1603 when Queen Elizabeth was in office, translation activities were more frequent, and famous translations also appeared the most frequently, which constituted a translation climax in the whole history of English literature. " In the Queen Elizabeth era, translation reached an unprecedented prosperity, and good translations of famous works continued to emerge. In the following 17th to 18th centuries, neoclassical literary translation surpassed the previous stage. Translation was particularly important to the development of modern English language, literature and culture. (Wang Zuoliang, He Qishen 1996: 72）

In Europe, the writers, thinkers and scholars in this period were translators who knew several languages, translation and creation were closely linked. A large number of scholars and poets have expressed their opinions on translation. From the 14th to the 16th century, the most representative was Dante's "untranslatability of literature" in Italy (1265-1321); Erasmus of the Netherlands (1466 - 1536) relied on the translator's language knowledge in the translation of ''The Bible''; The translation of German Luther (1482 - 1546) must adopt the language of the people; The translators in Dore’ s mind (1509-1546) in France must understand the original content, be proficient in two languages, avoid word for word translation, adopt popular form and pay attention to the "five translation principles" of beautiful style; Poetry translation in English Chapman' s(1559-1634) mind can not be stiff translation, and the poetry translation method of "rebuilding a new image" can be used.

From the 17th to the 19th century, the representative figures were as follows. Abranco of France: the translation method of “the beautiful unfaithful ones” which emphasized literariness and readability; Bartow (1731-1780) : accurate translation view of "the author is the master and the translator is the servant"; Dryden (1747-1841) of England: three translation principles of "literal translation, free translation and imitation translation"; Tytler (1747-1814): three translation principles of "the translation must completely reproduce the thought of the original work: the style and tone of the translation must be consistent with the characteristics of the original; the translation must be as smooth as the original." ; Humanistic thinker Herder (1744-1830) of German Romanticism: made a pioneering thinking on the language, nationality and the characteristics of relativism in translation. Goethe (1749-1832) of German: called the translator as "the prophet of the people"; Humboldt (1767-1835): expressed the views on translatability and untranslatability which had a great impact on the 20th century. The foreignization translation method of Schleiermacher (1768-1834) in the later stage has influenced the deconstructive translation theory of the 20th century. For the above representative figures and different translation views, this paper will focus on the humanistic trend and enumerate some of the representatives according to the development sequence of the history of western translation theory.

===2. The "Rebels" Who Change the Traditional Concept of Translation===
Since Jerome, the debate between literal and free translation has begun in the west. The dispute between them actually involves the question of whether translation should be equivalent to the original text, that is, faithfulness, which is also a thread running through western translation theory for more than 2000 years. Since the Renaissance, people have become more and more aware of their own subjectivity, but religious influence is everywhere all the time. As a translator, if he has any unconventional translation behavior, he may be persecuted by spirit and body, even lead to death. A history of western translation can be said to be written in the life and blood of translators to a certain extent.

Between 1536 and 1546, three translators died. Two of them were caused by translation work. They were French translation theorist Dolet, religious reformer and translator Martin Luther as well as British translator William Tyndale.
====2.1 Etiene Dolet: Five Principles of Translation====
In the history of western translation theory, the first humanist to systematically expound translation theory was Etiene Dolet(1509-1546). Dolet is a translator, printer and scholar. He is the first translator suffering from translation since the Renaissance. He is a learned, versatile and liberated translator. His interpretation of classics was regarded as walking between orthodoxy and paganism. The European Church has advocated for a long time that the translation of ''The Bible'' should be literal translation, especially the Roman Catholic Church supported the "correct" and conventional translation of ''The Bible'' . Any interpretation and translation that deviated from the classics may be regarded as heresy, criticized and prohibited, and some adventurous interpreters and translators suffered a horrible fate. In 1546, the Theological Seminary of Sorbonne University in France identified that Dolet added the phrase "whereas you will no longer be anything at all" without foundation in the translation of a paragraph about "existence after human death" in Plato's dialogue ''Axiochus'', then he was burned alive at the stake. This paragraph is as follows:

The original text in Greek: Hoti peri men tous zôntas ouk estin, hoi de apothanontes ouk eisin. hôste oute peri se nun estin, ou gar tethnêkas oute ei ti pathois, estai peri se su gar ouk esei.

The French translation by Dolet: Pour ce qu'il est certain que la mort n'est point aux vivants: et quant aux defuncs, ilz ne sont plus: donques la mort les atouches encore moins. Parquoy elle ne peult rien sur toy, car tu n'est pas encores prest à deceder; et quand tu seras décédé, elle n'y pourra rien aussi，attendu que tu ne seras plus ''rien du tou''. (The text in sixteenth century cited by Ballard and Copley Christie)

The translation in English:Since it is certain death is not at all among the living: and as for the dead, they no longer are: therefore, death touches them even less. And hence death can do nothing to you, for you are not yet ready to die, and when you have died, death will also not be able to do anything, since you will no longer be ''anything at all''.

This paragraph by Plato is an obvious atheist view. It is close to the meaning of "how can you know death when you don't know life" (''The Analects of Confucius''). The original Greek version is abstruse and difficult to understand, and there are omissions in many places. It can't be translated without adding cohesive devices. The three words added in italic French and English in the text only play a role in connecting and do not change the meaning of the original text. Dolet's addition was accused of "blasphemy", because such translation was accused of "denying the eternity of the soul", and it was precisely because he "made" this fatal translation "mistake" that he was burned at the age of 37. This accusation was a typical "unnecessary" accusation. As a translator, Dolet only translated the meaning of the original text and did not understand it improperly. The key was that Plato described Aristotle's conversation, Sorbonne's clergy could not blame Plato, so they had to blame Dolet for adding the three French words “rien du tout” (nothing at all) , because these three words could not be found in Greek or Latin, the church accused him of misunderstanding Plato's intention, blaspheming the gods and not believing in eternity. So, the risk of translation arises.

Because Dolet was persecuted by the clergy to death, his "five principles on translation" was cherished by the western translation field. Dolet's "five principles on translation" came from ''The Way of Translating Well from One Language into Another'' (1540) The excerpts of the original text are as follows:

To translate well from one language into another requires in the main five things:

(1)In the first place, the translator must understand perfectly the sense and matter of the author he is translating, although he should feel free to clarifty obscurities.

(2)The translator should have a perfect knowldgwe of boh SL and IL, so as not to lessen the majesty of the language.

(3) The translator should avoid word for word renderings.

(4)The translator should avoid Latinate and unusual forms.

(5)The translator should assemble and liaise words eloquently to avoid clumsiness.(Robinson, Douglas 1997: 95~96)

From the five translation principles put forward by Dolet, he advocated free translation, especially he didn't advocate rigid literal translation and paid attention to the beauty of the translation. Articles 1 and 2 can be regarded as the necessary conditions for translators. The latter three advocate that translators should use fresh language expressions, avoid using rare Greek or Latin words, but use natural and fluent forms in the target language in order to improve the social status and influence of French, Italian, German and Spanish after the disintegration of Latin. These five principles emphasized that the translator cannot follow the master like a slave, being obedient and using word for word translation method which show that the translator is poor in skills and lacks rich lexical expression. In Dolet's view, translation is the translation of meaning, not words. In order to express the author's intention, the translator has the right to adjust and reverse the sentence pattern of the translation.

====2.2 Martin Luther: the Tongue of the Common Man====

Martin Luther (1483-1546) is a German religious reformer and translator in the 16th century. As a translator of the German version of ''The Bible'', he is known as the father of German language and literature. His discussion on translation is mainly recorded in ''The Circular Letter''(1530).

For hundreds of years, people have been used to going to church to listen to ''The Bible'', because under the control of Catholicism, ordinary people have no right to read it by themselves. Luther's translation of the obscure Latin ''Bible'' into contemporary popular German is a great revolution, which is as valuable as his religious revolution. When he translated the language of God into contemporary German, he hoped that the German version of the book would be converted into different dialects, put in people's hands and enter into everyone's heart. Once ''The Bible'' translated by Luther was published, ordinary people directly heard the call of God. Luther believed that the German version he translated must be clear and easy to understand. Therefore, he systematically formulated the translation principles. This popular and fluent translation method aimed to be free from the influence of previous established translations, because free translation was also a weapon for Luther to resist the church. His main translation principles are:

(1) The purpose and the original text that the reader cannot understand should be translated freely.

(2) When translating, we should give priority to the meaning and subject content of the text, and don't stick to the grammar of the original text.

(3) Try to use a language that is easy to understand by ordinary people.

(4) Metaphors and idioms in rhetoric can be translated into non figurative language.

(5) Adhere to the reader centered orientation.

In the use of the target language, Luther did not sanctify the target language, but broke the symbol system of it. Sometimes in order to inject vitality, Luther used the people's oral language to break the coherence of the target language and pay attention to people's personal understanding and personality, which undoubtedly strengthened the social communication of the translation. However, the fluency of the translation was not at the expense of the accuracy. Luther's Bible was also very accurate in information transmission. Because the language used by Luther in translating the Bible was a vivid language loved by the people, his translation was welcomed by the people, and has been spread for a long time. Luther's basic translation principle was “You must ask the mother at home，the children in the street, the ordinary man in the market and look at their mouth, how they speak,and translate that way; then they'll understand and see that you’re speaking to them in German.“ So, easy to understand was the most fundamental purpose of Luther's translation. (Munday, Jeremy 2001: 38.)

====2.3 William Tyndale: A Men Who Has Dedicated His Life to Translation====

During the Renaissance, the Englishman who died for translation is William Tyndale (1494 - 1536). He is the most influential Bible translator in the English language. The three most famous Bibles ——''Geneva Bible'', ''The Douay-Rheims Bible'' and ''The King James' Bible'' in the 16th and 17th centuries are all influenced by the translation of ''Tyndale Bible'', especially ''The King James' Bible''.

Tyndale was born in Gloucestershire, England. He studied at Oxford University in his early years and taught at Cambridge University after graduation. Cambridge's humanistic thought shaped his religious thought. He believed that since religious teachings and practices come from ''The Bible'', it is necessary for British people to read it in their own mother tongue. Inspired by Martin Luther's experience in translating the German version of it, Tyndale was determined to translate an English Bible. At that time, the British Conservatives led by Moore insisted that the law stipulated that the unauthorized translation of ''The Bible'' was punishable by death. Because Tyndale was persecuted by the British church, he had to flee to Germany, where religion was relatively free, to work as a translator. As a humanist, Tyndale exposed the hypocrisy of European religion. The church accused him of "weaving love and vain history and fables to poison young people". In 1536, Tyndale was arrested and burned. All in all, Tyndale's translated works were concise and simple, using popular English words and expressions, which pioneered the generation of English translation of ''The Bible''.

What the enumerated translators have in common is that in order to spread knowledge and distinguish truth, they bravely explore the road that predecessors have not gone through, and can devote their whole life to the sacred cause of translation. At the same time, it can also be said that their translation experience and principles are written with blood and life.

===3. The Incarnation of Muse: Poetics of Translation===
Muse (Μουσαι in Greek, muses in Latin) is the general name of the goddess of science and art in ancient Greek mythology. It was born of the god Zeus and Mnemosyne, the goddess of memory. The number of Muses is uncertain, some people say there are three goddesses and others nine goddesses. Since the Renaissance, European poets, like stars, have lit the sky over Europe. These poets not only make poetry, but also translate classical poetry, seek inspiration from traditional literature and summarize poetry translation theory. This spectacle is unprecedented.

Western classical translation focuses on the works of ancient Greek and Roman poets Homer, Virgil and Ovid. These translations have greatly improved the form and content of European countries, especially British poetry art, and brought new creative techniques and skills. For example, the introduction of English poetry should first be attributed to the translation of sonnets. The original form of fourteen line lyric poem originated from Italy is abbaabba, cdecde (the last six lines can also be cdcdcd). This poetic style has been translated and introduced by Surrey, and then improved by Spencer and Shakespeare to become the English sonnet (abab eded efef gg).

Muse, the goddess of literature and art in the west, is fond of English poets. The translation works of Chapman, Dryden, Pope, Shelley and other poets fully reflect the principle of "translating poetry in the poetic way". Their poetry translation practice and theory have been perfectly combined to form a unique literary translation theory.
====3.1 George Chapman: Decorate the Translation with Beautiful Words====
George Chapman (1559-1634) is an English poet, dramatist and translator. Chapman is famous for translating Homer's ''Iliad'' and ''Odyssey''. His translation inspires the British poet John Keats more than a century later (1815), so he writes ''On First looking into Chapman's Homer'', which becomes a masterpiece through the ages.

He worshipped the warrior hero of the Agamemnon family in Greek mythology all his life, which can be seen in his works. This is one of the reasons why he chose to translate Homer's works. In 1611, he completed the translation of the ''Iliad'' in sonnets. In 1616, he finished translating the ''Odyssey'' in the poetic style of heroic antithesis. His translation has become one of the most popular works in the history of English literature and played a connecting role in the history of literature. For 200 years after its publication, its translation has been the standard English translation of Homer's works. Chapman's theory of translation criticism can be seen from his translation of the preface written in the ''Iliad'':

That those translators stick in, that affect

Their word-for word traditions( where they lost )

The free grace of their natural dialect,

And shame their authors with a forced gloss)

More license from the words than may express

Their full compression, and make clear the author;

From whose truth, if you think my feet digress,

Because I use needful paraphrases...

( Extract from The Preface to the Reader of the Translation of ''Iliad'')

From Chapman' s translation practice and theory, there are several principles worth summarizing: (1) adhere to translating poetry in poetic way. (2) oppose word for word translation and focus on free translation. (3) adopt the "interpretation" method, advocate that the translation should be decorated. (4) translator should try to show the author's intention. Chapman pays equal attention to translation practice and theory. On the one hand, he pays attention to summarizing translation experience, on the other hand, he has clear principles as translation guidance. At the same time, the deep study of Homer's works and the poetic flavor of poetry are also the reasons for his success. Now let's take a look at a passage in his translation of the ''Iliad'':

All grave old man, and soldiers they had been, but for age

Now left the wars; yet Counselors they were exceeding sage

And as in well grown woods, on trees, cold spinier grasshoppers

Sit chirping and send voices out that scarce can piece our ears

For softness and their weaker faint sounds; so( talking on the tower )

These Seniors of the people sat, who, when they saw the power

Of beauty in the Queen ascend, even those cold-spirited peers,

Those wise and almost withered men, found this heat in their years

That they were forced( though whispering )to say: what men can blame.

The Greeks and Trojans to endure, for so admired a Dame,

So many miseries, and so long? (''Iliad'', iii, 159-169)

Chapman’ s translation was concrete and vivid, with abundant emotion. His rhythm was infectious. However, the addition method of Chapman was often criticized. For example, Homer asked Hector to say, "For well I know this in my mind and in my heart, the day will be, when scaled Troy shall perish." Chapman' s poem is:

And such a stormy day shall come，in mind and soul I know，

When scared Troy shall shed her towers, for tears of overthrow. (Wang Zuoliang, He Qishen 1994: 85)

The translation is rhyming, antithetical and neat, but "mind and soul", "storm", "towers" and "teams" are added. Optimistically,the translator has rich imagination. Negatively, the translator's fantasy destroys faithfulness. In any case, Chapman' s translation style is magnificent and beautiful, reflecting the gorgeous rhetoric of the Renaissance translation and the translator's deep literary foundation. No wonder Keats felt like "seeing a new star surge into the horizon" . Homer's style is fresh, simple, clear, direct, vivid and powerful. Chapman strives to reproduce Homer's epic features in diction, sentence making and style. He has practiced poetry translation and summed up translation theory. This was rare in England from the 16th to 17th centuries: "the task of a competent and valuable translator is to abide by the sentences, rhetoric and language forms used by his original author, abide by his true meaning and depth, and then decorate them with rhetoric and language forms suitable for the language of the translation itself." (Wang Zuoliang, He Qishen 1994: 82)

Nevertheless, because Chapman translated Homer's epic in sonnets and tried to create something in phonology, the sonnets still did not conform to the style of Homer's epic, but they made some progress compared with Milton's translation with blank poems. Chapman also translated Ovid' s ''Feast of Sound and Color'' . His free translation method can fully reflect the deep meaning of the original work and was the best way to translate Homer's poetry. Chapman regarded the translation of Homer's epic as a major event in his life and believed that he was born to translate Homer's epic. His poetry translation theory filled the gap of translation theory in the late 16th century and has been inherited and developed by poetry translators from the 17th to 18th centuries.

====3.2 John Denham: Fluent Poetry Translation====

John Denham (1615 - 1669) is the most famous poet and translator in England in the mid-17th century. When he was young, he went to Oxford to study law, but he never worked as a attorney. He becomes famous because he translated the epic ''Aeneas'' written by Virgil, an ancient Greek tragedy. Later, his poetry also makes him famous in the literary world. (Nida, Eugene 1964: 145)

Denham' s translation theory is mainly reflected in his two articles on translation. One is ''To Sir Richard Fanshawe upon his translation of pastor Fido'' (1648), and the other is The preface of his translation of Aeneas, ''The Destruction of Troy'' (1656) He believes that art expresses nature in a harmonious and elegant way, so the translator should go beyond the constraints of form and create a novel translation. The translation of literary works is different from the translation of religious and disciplinary works, the former can be less faithful, and the translation of ''Aeneas'' adopts the method of translating poetry in the poetic way, pays attention to the legal effect of poetry, and has achieved good results.

Specifically, Denham' s translation theories include:

(1) Denham follows a "neoclassicism" path ". The translation method pursues a new translation method, that is, the translator should innovate, especially in the charm of poetry. Translation should give full play to the advantages of the target language. This process of using the target language to accultrate the original text is also the domestication translation method. This innovative translation method is deeply influenced by the free translation method advocated by France in the 17th century, that is, the translation should be beautiful. Although Denham pursues the elegance and beauty of his translation, his translation is basically faithful. His free translation mainly focuses on the artistic conception or "poetry for poetry", rather than the translated vocabulary.

(2) Denham believes that the translator and the author enjoy the same status. As a poet and translator, he believes that the translator has the right to extract the core part from the original text and recreate it in the target language. If there is a key word in Denham's translation theory, it is "fluency", as if the translation is not like the translation, but more like creation. In this way, the sentence pattern of the original text can be rewritten, the unclear meaning can be clarified, the smooth poetic rhythm and form can be used, the irregular structure can be avoided, and the pause can be used to strengthen the coherence of poetic sentence patterns. Denham' s fluent translation makes people feel that reading his translation is not reading the translation, but reading the original English work. Therefore, he is known as "Virgil" in Britain.

(3) The translator has his own choice and motivation. Denham chooses the free translation method and the translation of ''Aeneas'' has its own purpose: the relationship between the king and his descendants in the Trojan story will remind the reader of Britain at that time. He hopes to give cultural support to the English monarch through the translation of such a work. There is an imaginary connection between Troy's pedigree and the defeated Caroline government at that time. This kind of ideological manipulation and rewriting confirms his translation It serves the royalists. Therefore, his translation is very flexible and has more freedom than other translators.

====3.3 John Dryden: Three Principles of Translation====

John Dryden (1631 - 1700), an English poet, translator and dramatist, is the most influential critic in Britain in the 17th century. His literary criticism has influenced the following two centuries. As a translation theorist, his discourse on translation is considered to be the most systematic in western translation theory before the 17th century.

The three translation types (1680) divided by Dryden and the three translation principles (1797) of Tytler all advocated to talk about translation in civilian rather than pretentious academic language, which is why their translation theory is still used today. As the "the first translation theorist" so far, Dryden' s translation views were mainly reflected in the translation of the ''Preface to Ovid' s Epistles''. Dryden classified three types of translation as follows:

All translations,I suppose, may be reduced to these three heads.

(1)First, that of metaphrase，or turning an author word by word, and line by line, from one language into another. Thus, or near this manner, was Horace his ''Art of Poetry'' translated by Ben Jonson.

(2)The second way is paraphrase, or translation with latitude, where the author is kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that is admitted to be amplified, but not altered. Such is Mr. Walter' s translation of Virgil's fourth ''Aeneid''.

(3)The third way is that of imitation, where the translator( if now he has not lost that name) assumes the liberty, not only to vary from the words and sense, but to forsake them both as he sees occasion; and taking some hints from the original, to run division on the groundwork, as he pleases. Such is Mr. Cowley' s practice in turning two Odes of Pindar, and one of Horace, into English.

Among the three translation methods, Dryden is most opposed to Ben Jonson' s word for word translation, that is, literal translation. It is considered that this translation method is like "tis much like dancing on ropes with fed legs", which mechanically imitates the original text, but can not be separated from the constraints of its grammar, sentence pattern and poetic rhythm, so that its semantics is obscure. As for the great freedom of imitation translation, the purpose of the translator is to imitate the previous works in subject content and literary form, neither translated words nor translated meaning. Therefore, literal translation and imitation translation are the two most extreme forms of translation, and translators should take warning. Free translation is the translation method advocated by Dryden. The so-called free translation means that the translator must have a limit of freedom. He should always see the author and not lose his way. From this point of view, Dryden insists that poetry translation must "translate poetry with poetry", that is, the person who translates poetry must be a poet, so that he can understand the charm of the original and better express it in the target language and aesthetic language.

The three classifications of Dryden' s translation have a great influence on the western translation theory in the 20th century. They are an indispensable part of western translation theory. His translation theory represents the peak of the development of English and criticism theory in the 17th century.

====3.4 Alexander Pope: Translation of Homer Epic====

Alexander Pope (1688-1744) is an important poet and translator in the Enlightenment period of the 18th century. His ''An Essay on Criticism'' (744 lines) is written in antithetical verses, expounding the aesthetic principles of classical literature and art, and establishes Pope's position in the history of English literature. Pope became famous for translating Homer's epics and won a reward of 10000 pounds and a great reputation.

Pope's translation of Homer's epic is accused by translation critics of not rhyming and reading like an 18th century Englishman. In other words, Pope's translation of Homer's epic is not so much a reflection of Homer's style as Pope's own style. His translation is full of personal characteristics and idioms. But when discussing translation, Pope said that his translation is better than those full of translation cavity. His main translation views are recorded in the translation preface of the ''Iliad''. Pope's translation theory is very similar to Dryden' s: (1) he advocates free translation and maintains the beauty of poetry translation. (2) it is the sacred mission of the translator not to add or delete arbitrarily in translation. (3) the relationship between literal translation and free translation is dialectical. Literal translation can not reproduce the beautiful meaning of the original text, but it is wrong to make up for it by hasty free translation. (4) servile loyalty to the literal meaning will only damage the poetic style of the original text. (5) the plain and clear style of Homer's epic in modern language is not a lesson. Translation should reflect the main characteristics of the original: when talking about the beauty and defects of the original, we should talk about the translation, which is the embodiment of the main characteristics of it. As long as the main parts of the original poem show the contents such as fables, etiquette and emotion, no translator will save and compress them out of his own prejudice. The same is true for the translation of every image, description and simile. If we save too much translation, it will weaken the main characteristics of the original poem.

In Pope's view, the translator should not only grasp the characteristics of the original text, but also deal with the idioms and metaphors in Homer's epic, strive to reproduce the image of the original text, and can not be arbitrarily deleted due to personal prejudice. The beautiful and noble poetic features of the original text should also be reproduced in the translation. Pope is often criticized for some affectation and arbitrary play. The accusation of the former may be related to Pope's neoclassicism. Arbitrary play is a major feature of some humanist translators.

Generally speaking, Pope adopts the domestication translation method to explain, understand and translate the original work with the poetic concepts of the Enlightenment period, in order to maintain a smooth and natural poetic flavor in the target language. Compared with the other two translators of Homer's epics Chapman and R. lattinmore, Pope's translation is generally very neat and elegant, reproducing the style of neoclassicism. Chapman' s translation is beautiful, while the translation of R. lattinmore, a translator in the 20th century, is fresh and casual. In general, Pope's translation of Homer's epic is neat and reproduces Homer's poetic flavor, charm to a certain extent.

===4. The National and World Visions of Translation===

The 17th century to the 19th century is the climax of the development of modern western translation theory. A large number of writers and translators with world reputation have sprung up in Britain, France and Germany. Generally speaking, the free translation school originated in France in the 17th century and had a great influence on Britain. There were many innovations in translation theory in Britain from the 17th to the 18th century. The discussion at this stage mainly focused on the translation of classical poetry. In Germany, with the emergence of “Stum and Drang, Storm and Stress” and Romanticism in the 18th and 19th centuries, German Conservatism has showed up.

The 19th century, represented by the "Stum and Drang, Storm and Stress", is a period of great development of German Conservatism, represented by the "German Romanticism", which is also a stage of the transition of literary and artistic forms from classicism to Romanticism, which can also be said to be the romanticism in the naive period. The central representatives of this movement are the famous writers Goethe and Schiller. Goethe's ''The Troubles of Young Witt'' is the representative work of this period, expressing the conflict of human inner feelings and the spirit of striving. This movement lasted for nearly 30 years, from 1765 to 1795, and then was replaced by the mature romantic movement. A large number of linguists, writers and translation theorists such as Herder, Goethe, Humboldt, Schleiermacher, Holderlin and Schlegel came on stage one after another. They translated a considerable number of classical works of ancient Greece and Rome, also translated and introduced a large number of works of other European countries (such as the translation of Shakespeare's plays). German literature in this period has won a great reputation all over the world. Due to the participation of the above-mentioned literature, German translation activities and translation research have also reached an unprecedented zenith, which has laid a solid foundation for western translation theory in the 20th century.

====4.1 Language Shapes the National Identity: Johann Gottfried Herder and Wilhelm von Humboldt====

The humanistic thoughts sweeping the whole Europe, such as humanism, classicism, enlightenment, “Stum and Drang, Storm and Stress” and romanticism, make the relationship between European countries closer and closer. These movements provide important conditions and environment for the birth of translation theory. Herder and Humboldt demonstrated the relationship between language, translation and national identity from the perspective of language.

Johann Gottfried Herder (1744 - 1803) is a pioneer of the German rapid movement. As a forerunner of the enlightenment movement, Herder always focuses on how to use translation to transform German literature. In his opinion, the growth of German national literature is inseparable from translation. His views on translation are scattered on the origin of language, on the more recent German literature and other works. These views on language and translation have a great impact on language education and translation circles. From the perspective of language, he believes that speech is invented by man, and language represents rationality: "Without language, man has no reason and without reason no language." Herder's view of language nature opposes taking language as a simple tool and medium. He believes that language is a national organism, which can best reflect the national spirit and national soul (Volksgeist) , is the bond that forms the nation-state. Whoever loses his own language loses his identity and patriotism. Germans should be proud of their language and nation. Herder and Humboldt put forward that language determines thinking, which not only provides a basis for the self hypothesis theory two centuries later, but also gives a view of the uncertainty and untranslatability of translation buried the foreshadowing. (Rousseau, Jean Jacques and John Gottfried Herder 1986: 121)

Herder opposes the deification of language and insists on explaining the generation of language from the perspective of naturalism. He believes that rationality is the key to the origin of language. He tries to provide a natural rather than reductionist explanation for human characteristics and creativity, and seeks the origin of language in human natural characteristics. Herder's natural reductionism is not only used to explain the origin of language, but also the power of natural interpretation is extended to all fields of culture to reflect the characteristics of human creation, such as art, religion, law, etc. Through the power of natural interpretation, they are included in a scientific world outlook. This language turning point fundamental. Its significance is that people begin to pay real attention to the problems of language itself, such as the essence of language, the relationship between language and rationality, how language can be expressed, etc. Then Humboldt inherited and developed Herder's view. Language blindness is no longer just a vassal of rationality, a simple tool. From then on, he began to get out of the influence of theology and gradually formed an independent philosophy of language.

Herder's views had a great impact on Humboldt.

Wilhelm von Humboldt (1767-1835) is the most influential linguist, philosopher and educational reformer in the West.

Humboldt's main translation views are:

(1) Language determines thought and culture. A language is the reflection of real life. Language has unique national characteristics, and the languages of different nationalities reflect their cultural characteristics. Different languages reflect the world outlook of different nationalities. It emphasizes the reaction of language to thinking: language determines thought and mode of thinking, and different languages have different schemata to understand the world. Translation consists of different languages and forms different language schemata. Therefore, equivalence in translation is impossible.

(2) The more you know a language, the greater the distance between nations. This is because different nations have different world views and different language habits. From this point of view, because we are aware of the great differences between different languages, we believe that it is impossible to achieve complete equivalence. Therefore, mutual translation between languages is impossible.

(3) Translation should deeply understand the era, atmosphere and character of the original author, and strive to avoid the obscure side of the translation and ensure the readability of the translation.

(4) The phonological beauty of poetry and drama translation must be maintained. Meter pattern is the key to all beauty.

Humboldt' s contribution to translation theory is that he is aware of the tension and contradiction of translation. He does not recognize the existence of a universal conceptual system beyond language boundaries. Therefore, his view of translation was interpreted as the representative of untranslatability in the 20th century. Because there are two meanings of "ubersetzen" and "dolmesschen" in German translation, "understanding" always carries "pre-understanding", that is, with personal subjective vision or prejudice, it is impossible to completely reach a consensus between different individuals. "Dolmesschen" let us have the opportunity to enter the commonness of language, which enables translation to cross specific social and cultural factors, and it is possible to understand each other between languages, so there is a reason to seek equivalence in translation. This is Humboldt' s dualism of language and translation.

====4.2 The Soaring Literary Translation: Johann Wolfgang Goethe and Friedrich Holdern====

Johann Wolfgang Goethe (1749-1832) is the greatest poet, translator and outstanding representative of Romanticism in Germany.

To sum up, Goethe believes that translation can be divided into three types.

(1) Facing different types of readers, we need different types of translation. In poetry and truth, he said, "if you want to influence the masses, a simple translation is always the best. Critical translations vying with the original really are of use only for conversations the learned conduct among themselves."(Lefevere, Andrew 1992: 75)

(2) Adaptation or imitation translation. "The second stage is that the translator translates contentedly according to his own wishes. Even if the translator tries to integrate himself into foreign situations, I would rather call this stage imitation stage."(Lefevere, Andrew 1992: 75)

(3) Pay attention to rhythmic literal translation sentence by sentence. Homer's ''Odyssey'' and ''Iliad'' translated by German Translator J. h. Voss made him famous overnight. His translation has beautiful rhythm and intonation and accurate choice of words and sentences. Although the public could not accept the strict literal translation rhythm at first, it gradually recognized it later. Goethe emphasizes that public taste can be shaped through translation.

Among all these three types of translation, Goethe most appreciates the literal translation that pays attention to rhythm, because as a poet, he takes into account the poetic characteristics such as meter pattern and rhythm, which are the true qualities of the original author. Goethe mentioned two principles of Translation: first, foreign writers move closer to the target language, so that his works look the same as the target language writers; Second, readers cross the border to adapt to foreign customs and language characteristics.

Goethe's translation theory is based on his romantic aesthetics. He believes that literal translation can not only convey the information of the original text, but also express the beauty of the translation.

Friedrich Holderlin (1770-1843) is the greatest lyric poet in the German Romantic period.

Holderlin advocates that every language of human beings is derived from the same basic language form, that is, what Benjamin called "pure language". Not only translation, but also creation should return to this ancient source. In translation practice, translators should adhere to literal translation, reflecting the heterogeneity of the original text. In modern poetics and translation studies, Holderlin' s language ontology is mainly based on the view of looking for "words beyond speech". This literal translation brings, of course, lexical obscurity, and Holderlin believes that the more obscure the translation, the more enlightening the tension. This poetic dialectics undoubtedly has a mystical point of view. It is very interesting that in the 20th century, people talked most about the essence of translation. The main point of view related to the essence of translation comes from Holderlin, a "firm guardian of letters" of the literal translation school. He created endless topics for translation. To some extent, Holderlin is the prophet of contemporary translation theory.

===5. Conclusion===

To sum up, as an important stage in the development of Western culture, humanistic trend cannot show up without the practice of cultural translation. As a part of the social thought at that time, translation thought is related to the social and cultural context in that period. Like other social trends at that time, translation thoughts in the period of the Renaissance and the Religious Reformation have played an important role in the evolution of the history of western translation, both returning to the original period and moving towards the new era. Humanistic trend is a turning point in the history of western translation. In short, the emergence of humanistic trend on the historical stage indicates that translation practice and theory have broken away from the "dark" Middle Ages and makes a huge step forward".

===References===

Bassnett, Susan. (1980) Translation Studies. London and New York: Methuen.

Lefevere, Andrew. eds. (1992) Translation/History/Culture: A Source Book. London : Routledge.

Munday, Jeremy. (2001) Introducing Translation Studies : Theories and Applications. London/New York : Routledge.

Nida, Eugene. (1964) Toward A Science of Translating. Leiden: E. J. Brill.

Robinson, Douglas. (1997) Western Translation Theory : from Herodotus to Nietzsche. Manchester : St. Jerome Publishing.

Rousseau, Jean Jacques and John Gottfried Herder. (1986) On the Oringin of Language. Chicago : The University of Chicago Press.

Tan Zaixi tan 谭载喜(2004). 西方翻译简史 A Brief History of Western Translation. 北京：商务印书馆 Beijing: The Commercial Press.

Wang Zuoliang, He Qishen 王佐良、何其莘(1996). 英国文艺复兴时期文学史 A History of English Renaissance Literature. 北京：外语教学与研究出版社 Beijing: foreign Language Teaching and Research Press.

Wang Zuoliang, He Qishen 王佐良，何其莘(1994). 英国文艺复兴时期的文学史 A History of English Renaissance Literature 北京：外语教学与研究出版社 Beijing: foreign Language Teaching and Research Press.

Xie Tianzhen 谢天振(2014). 中西翻译简史 A Brief History of Chinese and Western Translation. 北京：外语教学与研究出版社 Beijing: foreign Language Teaching and Research Press.

Yao Xiaoping 姚小平(1998). 赫尔德论语言的起源译本 The Translation of Herder' s Treatise on the Origin of Language 北京：商务印书馆 Beijing: The Commercial Press.

Written by --[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 08:38, 9 December 2021 (UTC)

Hist Trans Theo EN 12

2021-12-16T02:51:41Z

Wei Zhaoyan: /* 3.3 John Dryden: Three Principles of Translation */

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=12 魏兆妍 The Humanistic Trend in Western Translation Theory from the 14th to the 19th Century=
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'''The Humanistic Trend in Western Translation Theory from the 14th to the 19th Century'''

Wei Zhaoyan 魏兆妍 Hunan Normal University, China

===Abstract===
From the 14th century, Europe began to enter into the Renaissance, and the Christian world view gradually degenerated with the emergence of individual centered humanism. People who submitted to God were regarded as rational and unique individuals, emphasizing their creative potential and giving full play to their talents. With the invention of printing in the 15th century, education and schools began to be open to the public. Reading translated works from different countries was no longer a noble enjoyment. Words and information were transmitted in all directions and more quickly through translation. Translation was called the forerunner of the Renaissance. It can be said that without translation, there would be no European Renaissance and humanistic thought. In Europe, the writers, thinkers and scholars in this period were also translators who knew several languages, and we can see that translation and creation were closely linked. This paper will focus on the humanistic trend in western translation theory from the 14th to the 19th century, and will also enumerate the representative figures and their translation ideas in this period.

===Key words===
Humanistic trend, Western translation theory, Poetics of translation, National and world visions

===1. Introduction===

From the 14th century, Europe began to enter into the Renaissance. Dante, the last poet in the middle ages, completed ''The Divine Comedy'' in 1321. In Dante's mind, all human life experience, including life and death, must be explained by Christian faith in order to show its meaning and significance. This Christian worldview gradually degenerated with the emergence of individualism-centered humanism. All beings who submitted to God were regarded as rational, unique and creative individuals. In the past years, translators were servants attached to God. Now they have shifted from God to focusing on the translator. Personal development has become the goal and value of life. Although humanist thinkers, writers and translators still maintain the Christian faith, they put more emphasis on personal creative potential and give full play to people's strengths. The focus of translation activities in this period also shifted from the classics of the Christian Church to the translation of more secular humanistic works.

With the invention of printing in the 15th century, education and schools began to be open to the public. Reading translated works from different countries was no longer a noble enjoyment. Through the wings of translation, words and information were transmitted in all directions and more quickly. For example, Marco Polo (1254-1324) told the story of his travels in China, which spread all over the European continent through printed words. The invention of printing not only brought about a cultural revolution, but also a sharp increase in the number of translations. Translation is known as the forerunner of the Renaissance. It can be said that without translation, there would be no European Renaissance and humanistic thought. Take the role of translation in English literature for example: "Translation played a great role in the British Renaissance: first, as a pioneer, it was countless translated works that first caused the mental climate of humanism. Second, translation was still active in the era of the restoration of the king's government, but attention has turned to French works. In the intervening years, that is, in the half century from 1558 to 1603 when Queen Elizabeth was in office, translation activities were more frequent, and famous translations also appeared the most frequently, which constituted a translation climax in the whole history of English literature. " In the Queen Elizabeth era, translation reached an unprecedented prosperity, and good translations of famous works continued to emerge. In the following 17th to 18th centuries, neoclassical literary translation surpassed the previous stage. Translation was particularly important to the development of modern English language, literature and culture. (Wang Zuoliang, He Qishen 1996: 72）

In Europe, the writers, thinkers and scholars in this period were translators who knew several languages, translation and creation were closely linked. A large number of scholars and poets have expressed their opinions on translation. From the 14th to the 16th century, the most representative was Dante's "untranslatability of literature" in Italy (1265-1321); Erasmus of the Netherlands (1466 - 1536) relied on the translator's language knowledge in the translation of ''The Bible''; The translation of German Luther (1482 - 1546) must adopt the language of the people; The translators in Dore’ s mind (1509-1546) in France must understand the original content, be proficient in two languages, avoid word for word translation, adopt popular form and pay attention to the "five translation principles" of beautiful style; Poetry translation in English Chapman' s(1559-1634) mind can not be stiff translation, and the poetry translation method of "rebuilding a new image" can be used.

From the 17th to the 19th century, the representative figures were as follows. Abranco of France: the translation method of “the beautiful unfaithful ones” which emphasized literariness and readability; Bartow (1731-1780) : accurate translation view of "the author is the master and the translator is the servant"; Dryden (1747-1841) of England: three translation principles of "literal translation, free translation and imitation translation"; Tytler (1747-1814): three translation principles of "the translation must completely reproduce the thought of the original work: the style and tone of the translation must be consistent with the characteristics of the original; the translation must be as smooth as the original." ; Humanistic thinker Herder (1744-1830) of German Romanticism: made a pioneering thinking on the language, nationality and the characteristics of relativism in translation. Goethe (1749-1832) of German: called the translator as "the prophet of the people"; Humboldt (1767-1835): expressed the views on translatability and untranslatability which had a great impact on the 20th century. The foreignization translation method of Schleiermacher (1768-1834) in the later stage has influenced the deconstructive translation theory of the 20th century. For the above representative figures and different translation views, this paper will focus on the humanistic trend and enumerate some of the representatives according to the development sequence of the history of western translation theory.

===2. The "Rebels" Who Change the Traditional Concept of Translation===
Since Jerome, the debate between literal and free translation has begun in the west. The dispute between them actually involves the question of whether translation should be equivalent to the original text, that is, faithfulness, which is also a thread running through western translation theory for more than 2000 years. Since the Renaissance, people have become more and more aware of their own subjectivity, but religious influence is everywhere all the time. As a translator, if he has any unconventional translation behavior, he may be persecuted by spirit and body, even lead to death. A history of western translation can be said to be written in the life and blood of translators to a certain extent.

Between 1536 and 1546, three translators died. Two of them were caused by translation work. They were French translation theorist Dolet, religious reformer and translator Martin Luther as well as British translator William Tyndale.
====2.1 Etiene Dolet: Five Principles of Translation====
In the history of western translation theory, the first humanist to systematically expound translation theory was Etiene Dolet(1509-1546). Dolet is a translator, printer and scholar. He is the first translator suffering from translation since the Renaissance. He is a learned, versatile and liberated translator. His interpretation of classics was regarded as walking between orthodoxy and paganism. The European Church has advocated for a long time that the translation of ''The Bible'' should be literal translation, especially the Roman Catholic Church supported the "correct" and conventional translation of ''The Bible'' . Any interpretation and translation that deviated from the classics may be regarded as heresy, criticized and prohibited, and some adventurous interpreters and translators suffered a horrible fate. In 1546, the Theological Seminary of Sorbonne University in France identified that Dolet added the phrase "whereas you will no longer be anything at all" without foundation in the translation of a paragraph about "existence after human death" in Plato's dialogue ''Axiochus'', then he was burned alive at the stake. This paragraph is as follows:

The original text in Greek: Hoti peri men tous zôntas ouk estin, hoi de apothanontes ouk eisin. hôste oute peri se nun estin, ou gar tethnêkas oute ei ti pathois, estai peri se su gar ouk esei.

The French translation by Dolet: Pour ce qu'il est certain que la mort n'est point aux vivants: et quant aux defuncs, ilz ne sont plus: donques la mort les atouches encore moins. Parquoy elle ne peult rien sur toy, car tu n'est pas encores prest à deceder; et quand tu seras décédé, elle n'y pourra rien aussi，attendu que tu ne seras plus ''rien du tou''. (The text in sixteenth century cited by Ballard and Copley Christie)

The translation in English:Since it is certain death is not at all among the living: and as for the dead, they no longer are: therefore, death touches them even less. And hence death can do nothing to you, for you are not yet ready to die, and when you have died, death will also not be able to do anything, since you will no longer be ''anything at all''.

This paragraph by Plato is an obvious atheist view. It is close to the meaning of "how can you know death when you don't know life" (''The Analects of Confucius''). The original Greek version is abstruse and difficult to understand, and there are omissions in many places. It can't be translated without adding cohesive devices. The three words added in italic French and English in the text only play a role in connecting and do not change the meaning of the original text. Dolet's addition was accused of "blasphemy", because such translation was accused of "denying the eternity of the soul", and it was precisely because he "made" this fatal translation "mistake" that he was burned at the age of 37. This accusation was a typical "unnecessary" accusation. As a translator, Dolet only translated the meaning of the original text and did not understand it improperly. The key was that Plato described Aristotle's conversation, Sorbonne's clergy could not blame Plato, so they had to blame Dolet for adding the three French words “rien du tout” (nothing at all) , because these three words could not be found in Greek or Latin, the church accused him of misunderstanding Plato's intention, blaspheming the gods and not believing in eternity. So, the risk of translation arises.

Because Dolet was persecuted by the clergy to death, his "five principles on translation" was cherished by the western translation field. Dolet's "five principles on translation" came from ''The Way of Translating Well from One Language into Another'' (1540) The excerpts of the original text are as follows:

To translate well from one language into another requires in the main five things:

(1)In the first place, the translator must understand perfectly the sense and matter of the author he is translating, although he should feel free to clarifty obscurities.

(2)The translator should have a perfect knowldgwe of boh SL and IL, so as not to lessen the majesty of the language.

(3) The translator should avoid word for word renderings.

(4)The translator should avoid Latinate and unusual forms.

(5)The translator should assemble and liaise words eloquently to avoid clumsiness.(Robinson, Douglas 1997: 95~96)

From the five translation principles put forward by Dolet, he advocated free translation, especially he didn't advocate rigid literal translation and paid attention to the beauty of the translation. Articles 1 and 2 can be regarded as the necessary conditions for translators. The latter three advocate that translators should use fresh language expressions, avoid using rare Greek or Latin words, but use natural and fluent forms in the target language in order to improve the social status and influence of French, Italian, German and Spanish after the disintegration of Latin. These five principles emphasized that the translator cannot follow the master like a slave, being obedient and using word for word translation method which show that the translator is poor in skills and lacks rich lexical expression. In Dolet's view, translation is the translation of meaning, not words. In order to express the author's intention, the translator has the right to adjust and reverse the sentence pattern of the translation.

====2.2 Martin Luther: the Tongue of the Common Man====

Martin Luther (1483-1546) is a German religious reformer and translator in the 16th century. As a translator of the German version of ''The Bible'', he is known as the father of German language and literature. His discussion on translation is mainly recorded in ''The Circular Letter''(1530).

For hundreds of years, people have been used to going to church to listen to ''The Bible'', because under the control of Catholicism, ordinary people have no right to read it by themselves. Luther's translation of the obscure Latin ''Bible'' into contemporary popular German is a great revolution, which is as valuable as his religious revolution. When he translated the language of God into contemporary German, he hoped that the German version of the book would be converted into different dialects, put in people's hands and enter into everyone's heart. Once ''The Bible'' translated by Luther was published, ordinary people directly heard the call of God. Luther believed that the German version he translated must be clear and easy to understand. Therefore, he systematically formulated the translation principles. This popular and fluent translation method aimed to be free from the influence of previous established translations, because free translation was also a weapon for Luther to resist the church. His main translation principles are:

(1) The purpose and the original text that the reader cannot understand should be translated freely.

(2) When translating, we should give priority to the meaning and subject content of the text, and don't stick to the grammar of the original text.

(3) Try to use a language that is easy to understand by ordinary people.

(4) Metaphors and idioms in rhetoric can be translated into non figurative language.

(5) Adhere to the reader centered orientation.

In the use of the target language, Luther did not sanctify the target language, but broke the symbol system of it. Sometimes in order to inject vitality, Luther used the people's oral language to break the coherence of the target language and pay attention to people's personal understanding and personality, which undoubtedly strengthened the social communication of the translation. However, the fluency of the translation was not at the expense of the accuracy. Luther's Bible was also very accurate in information transmission. Because the language used by Luther in translating the Bible was a vivid language loved by the people, his translation was welcomed by the people, and has been spread for a long time. Luther's basic translation principle was “You must ask the mother at home，the children in the street, the ordinary man in the market and look at their mouth, how they speak,and translate that way; then they'll understand and see that you’re speaking to them in German.“ So, easy to understand was the most fundamental purpose of Luther's translation. (Munday, Jeremy 2001: 38.)

====2.3 William Tyndale: A Men Who Has Dedicated His Life to Translation====

During the Renaissance, the Englishman who died for translation is William Tyndale (1494 - 1536). He is the most influential Bible translator in the English language. The three most famous Bibles ——''Geneva Bible'', ''The Douay-Rheims Bible'' and ''The King James' Bible'' in the 16th and 17th centuries are all influenced by the translation of ''Tyndale Bible'', especially ''The King James' Bible''.

Tyndale was born in Gloucestershire, England. He studied at Oxford University in his early years and taught at Cambridge University after graduation. Cambridge's humanistic thought shaped his religious thought. He believed that since religious teachings and practices come from ''The Bible'', it is necessary for British people to read it in their own mother tongue. Inspired by Martin Luther's experience in translating the German version of it, Tyndale was determined to translate an English Bible. At that time, the British Conservatives led by Moore insisted that the law stipulated that the unauthorized translation of ''The Bible'' was punishable by death. Because Tyndale was persecuted by the British church, he had to flee to Germany, where religion was relatively free, to work as a translator. As a humanist, Tyndale exposed the hypocrisy of European religion. The church accused him of "weaving love and vain history and fables to poison young people". In 1536, Tyndale was arrested and burned. All in all, Tyndale's translated works were concise and simple, using popular English words and expressions, which pioneered the generation of English translation of ''The Bible''.

What the enumerated translators have in common is that in order to spread knowledge and distinguish truth, they bravely explore the road that predecessors have not gone through, and can devote their whole life to the sacred cause of translation. At the same time, it can also be said that their translation experience and principles are written with blood and life.

===3. The Incarnation of Muse: Poetics of Translation===
Muse (Μουσαι in Greek, muses in Latin) is the general name of the goddess of science and art in ancient Greek mythology. It was born of the god Zeus and Mnemosyne, the goddess of memory. The number of Muses is uncertain, some people say there are three goddesses and others nine goddesses. Since the Renaissance, European poets, like stars, have lit the sky over Europe. These poets not only make poetry, but also translate classical poetry, seek inspiration from traditional literature and summarize poetry translation theory. This spectacle is unprecedented.

Western classical translation focuses on the works of ancient Greek and Roman poets Homer, Virgil and Ovid. These translations have greatly improved the form and content of European countries, especially British poetry art, and brought new creative techniques and skills. For example, the introduction of English poetry should first be attributed to the translation of sonnets. The original form of fourteen line lyric poem originated from Italy is abbaabba, cdecde (the last six lines can also be cdcdcd). This poetic style has been translated and introduced by Surrey, and then improved by Spencer and Shakespeare to become the English sonnet (abab eded efef gg).

Muse, the goddess of literature and art in the west, is fond of English poets. The translation works of Chapman, Dryden, Pope, Shelley and other poets fully reflect the principle of "translating poetry in the poetic way". Their poetry translation practice and theory have been perfectly combined to form a unique literary translation theory.
====3.1 George Chapman: Decorate the Translation with Beautiful Words====
George Chapman (1559-1634) is an English poet, dramatist and translator. Chapman is famous for translating Homer's ''Iliad'' and ''Odyssey''. His translation inspires the British poet John Keats more than a century later (1815), so he writes ''On First looking into Chapman's Homer'', which becomes a masterpiece through the ages.

He worshipped the warrior hero of the Agamemnon family in Greek mythology all his life, which can be seen in his works. This is one of the reasons why he chose to translate Homer's works. In 1611, he completed the translation of the ''Iliad'' in sonnets. In 1616, he finished translating the ''Odyssey'' in the poetic style of heroic antithesis. His translation has become one of the most popular works in the history of English literature and played a connecting role in the history of literature. For 200 years after its publication, its translation has been the standard English translation of Homer's works. Chapman's theory of translation criticism can be seen from his translation of the preface written in the ''Iliad'':

That those translators stick in, that affect

Their word-for word traditions( where they lost )

The free grace of their natural dialect,

And shame their authors with a forced gloss)

More license from the words than may express

Their full compression, and make clear the author;

From whose truth, if you think my feet digress,

Because I use needful paraphrases...

( Extract from The Preface to the Reader of the Translation of ''Iliad'')

From Chapman' s translation practice and theory, there are several principles worth summarizing: (1) adhere to translating poetry in poetic way. (2) oppose word for word translation and focus on free translation. (3) adopt the "interpretation" method, advocate that the translation should be decorated. (4) translator should try to show the author's intention. Chapman pays equal attention to translation practice and theory. On the one hand, he pays attention to summarizing translation experience, on the other hand, he has clear principles as translation guidance. At the same time, the deep study of Homer's works and the poetic flavor of poetry are also the reasons for his success. Now let's take a look at a passage in his translation of the ''Iliad'':

All grave old man, and soldiers they had been, but for age

Now left the wars; yet Counselors they were exceeding sage

And as in well grown woods, on trees, cold spinier grasshoppers

Sit chirping and send voices out that scarce can piece our ears

For softness and their weaker faint sounds; so( talking on the tower )

These Seniors of the people sat, who, when they saw the power

Of beauty in the Queen ascend, even those cold-spirited peers,

Those wise and almost withered men, found this heat in their years

That they were forced( though whispering )to say: what men can blame.

The Greeks and Trojans to endure, for so admired a Dame,

So many miseries, and so long? (''Iliad'', iii, 159-169)

Chapman’ s translation was concrete and vivid, with abundant emotion. His rhythm was infectious. However, the addition method of Chapman was often criticized. For example, Homer asked Hector to say, "For well I know this in my mind and in my heart, the day will be, when scaled Troy shall perish." Chapman' s poem is:

And such a stormy day shall come，in mind and soul I know，

When scared Troy shall shed her towers, for tears of overthrow. (Wang Zuoliang, He Qishen 1994: 85)

The translation is rhyming, antithetical and neat, but "mind and soul", "storm", "towers" and "teams" are added. Optimistically,the translator has rich imagination. Negatively, the translator's fantasy destroys faithfulness. In any case, Chapman' s translation style is magnificent and beautiful, reflecting the gorgeous rhetoric of the Renaissance translation and the translator's deep literary foundation. No wonder Keats felt like "seeing a new star surge into the horizon" . Homer's style is fresh, simple, clear, direct, vivid and powerful. Chapman strives to reproduce Homer's epic features in diction, sentence making and style. He has practiced poetry translation and summed up translation theory. This was rare in England from the 16th to 17th centuries: "the task of a competent and valuable translator is to abide by the sentences, rhetoric and language forms used by his original author, abide by his true meaning and depth, and then decorate them with rhetoric and language forms suitable for the language of the translation itself." (Wang Zuoliang, He Qishen 1994: 82)

Nevertheless, because Chapman translated Homer's epic in sonnets and tried to create something in phonology, the sonnets still did not conform to the style of Homer's epic, but they made some progress compared with Milton's translation with blank poems. Chapman also translated Ovid' s ''Feast of Sound and Color'' . His free translation method can fully reflect the deep meaning of the original work and was the best way to translate Homer's poetry. Chapman regarded the translation of Homer's epic as a major event in his life and believed that he was born to translate Homer's epic. His poetry translation theory filled the gap of translation theory in the late 16th century and has been inherited and developed by poetry translators from the 17th to 18th centuries.

====3.2 John Denham: Fluent Poetry Translation====

John Denham (1615 - 1669) is the most famous poet and translator in England in the mid-17th century. When he was young, he went to Oxford to study law, but he never worked as a attorney. He becomes famous because he translated the epic ''Aeneas'' written by Virgil, an ancient Greek tragedy. Later, his poetry also makes him famous in the literary world. (Nida, Eugene 1964: 145)

Denham' s translation theory is mainly reflected in his two articles on translation. One is ''To Sir Richard Fanshawe upon his translation of pastor Fido'' (1648), and the other is The preface of his translation of Aeneas, ''The Destruction of Troy'' (1656) He believes that art expresses nature in a harmonious and elegant way, so the translator should go beyond the constraints of form and create a novel translation. The translation of literary works is different from the translation of religious and disciplinary works, the former can be less faithful, and the translation of ''Aeneas'' adopts the method of translating poetry in the poetic way, pays attention to the legal effect of poetry, and has achieved good results.

Specifically, Denham' s translation theories include:

(1) Denham follows a "neoclassicism" path ". The translation method pursues a new translation method, that is, the translator should innovate, especially in the charm of poetry. Translation should give full play to the advantages of the target language. This process of using the target language to accultrate the original text is also the domestication translation method. This innovative translation method is deeply influenced by the free translation method advocated by France in the 17th century, that is, the translation should be beautiful. Although Denham pursues the elegance and beauty of his translation, his translation is basically faithful. His free translation mainly focuses on the artistic conception or "poetry for poetry", rather than the translated vocabulary.

(2) Denham believes that the translator and the author enjoy the same status. As a poet and translator, he believes that the translator has the right to extract the core part from the original text and recreate it in the target language. If there is a key word in Denham's translation theory, it is "fluency", as if the translation is not like the translation, but more like creation. In this way, the sentence pattern of the original text can be rewritten, the unclear meaning can be clarified, the smooth poetic rhythm and form can be used, the irregular structure can be avoided, and the pause can be used to strengthen the coherence of poetic sentence patterns. Denham' s fluent translation makes people feel that reading his translation is not reading the translation, but reading the original English work. Therefore, he is known as "Virgil" in Britain.

(3) The translator has his own choice and motivation. Denham chooses the free translation method and the translation of ''Aeneas'' has its own purpose: the relationship between the king and his descendants in the Trojan story will remind the reader of Britain at that time. He hopes to give cultural support to the English monarch through the translation of such a work. There is an imaginary connection between Troy's pedigree and the defeated Caroline government at that time. This kind of ideological manipulation and rewriting confirms his translation It serves the royalists. Therefore, his translation is very flexible and has more freedom than other translators.

====3.3 John Dryden: Three Principles of Translation====

John Dryden (1631 - 1700), an English poet, translator and dramatist, is the most influential critic in Britain in the 17th century. His literary criticism has influenced the following two centuries. As a translation theorist, his discourse on translation is considered to be the most systematic in western translation theory before the 17th century.

The three translation types (1680) divided by Dryden and the three translation principles (1797) of Tytler all advocated to talk about translation in civilian rather than pretentious academic language, which is why their translation theory is still used today. As the "the first translation theorist" so far, Dryden' s translation views were mainly reflected in the translation of the ''Preface to Ovid' s Epistles''. Dryden classified three types of translation as follows:

All translations,I suppose, may be reduced to these three heads.

(1)First, that of metaphrase，or turning an author word by word, and line by line, from one language into another. Thus, or near this manner, was Horace his ''Art of Poetry'' translated by Ben Jonson.

(2)The second way is paraphrase, or translation with latitude, where the author is kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that is admitted to be amplified, but not altered. Such is Mr. Walter' s translation of Virgil's fourth ''Aeneid''.

(3)The third way is that of imitation, where the translator( if now he has not lost that name) assumes the liberty, not only to vary from the words and sense, but to forsake them both as he sees occasion; and taking some hints from the original, to run division on the groundwork, as he pleases. Such is Mr. Cowley' s practice in turning two Odes of Pindar, and one of Horace, into English.

Among the three translation methods, Dryden is most opposed to Ben Jonson' s word for word translation, that is, literal translation. It is considered that this translation method is like "tis much like dancing on ropes with fed legs", which mechanically imitates the original text, but can not be separated from the constraints of its grammar, sentence pattern and poetic rhythm, so that its semantics is obscure. As for the great freedom of imitation translation, the purpose of the translator is to imitate the previous works in subject content and literary form, neither translated words nor translated meaning. Therefore, literal translation and imitation translation are the two most extreme forms of translation, and translators should take warning. Free translation is the translation method advocated by Dryden. The so-called free translation means that the translator must have a limit of freedom. He should always see the author and not lose his way. From this point of view, Dryden insists that poetry translation must "translate poetry with poetry", that is, the person who translates poetry must be a poet, so that he can understand the charm of the original and better express it in the target language and aesthetic language.

The three classifications of Dryden' s translation have a great influence on the western translation theory in the 20th century. They are an indispensable part of western translation theory. His translation theory represents the peak of the development of English and criticism theory in the 17th century.

====3.4 Alexander Pope: Translation of Homer Epic====

Alexander Pope (1688-1744) is an important poet and translator in the Enlightenment period of the 18th century. His ''An Essay on Criticism'' (744 lines) is written in antithetical verses, expounds ( expounding, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]))the aesthetic principles of classical literature and art, and establishes Pope's position in the history of English literature. Pope became famous for translating Homer's epics and won a reward of 10000 pounds and a great reputation.

Pope's translation of Homer's epic is accused by translation critics of not rhyming and reading like an 18th century Englishman. In other words, Pope's translation of Homer's epic is not so much a reflection of Homer's style as Pope's own style. His translation is full of personal characteristics and idioms. But when discussing translation, Pope said that his translation is better than those full of translation cavity. His main translation views are recorded in the translation preface of the ''Iliad''. Pope's translation theory is very similar to Dryden' s: (1) he advocates free translation and maintains the beauty of poetry translation. (2) it is the sacred mission of the translator not to add or delete arbitrarily in translation. (3) the relationship between literal translation and free translation is dialectical. Literal translation can not reproduce the beautiful meaning of the original text, but it is wrong to make up for it by hasty free translation. (4) servile loyalty to the literal meaning will only damage the poetic style of the original text. (5) the plain and clear style of Homer's epic in modern language is not a lesson. Translation should reflect the main characteristics of the original: when talking about the beauty and defects of the original, we should talk about the translation, which is the embodiment of the main characteristics of it. As long as the main parts of the original poem show the contents such as fables, etiquette and emotion, no translator will save and compress them out of his own prejudice. The same is true for the translation of every image, description and simile. If we save too much translation, it will weaken the main characteristics of the original poem.

In Pope's view, the translator should not only grasp the characteristics of the original text, but also deal with the idioms and metaphors in Homer's epic, strive to reproduce the image of the original text, and can not be arbitrarily deleted due to personal prejudice. The beautiful and noble poetic features of the original text should also be reproduced in the translation. Pope is often criticized for some affectation and arbitrary play. The accusation of the former may be related to Pope's neoclassicism. Arbitrary play is a major feature of some humanist translators.

Generally speaking, Pope adopts the domestication translation method to explain, understand and translate the original work with the poetic concepts of the Enlightenment period, in order to maintain a smooth and natural poetic flavor in the target language. Compared with the other two translators of Homer's epics Chapman and R. lattinmore, Pope's translation is generally very neat and elegant, reproducing the style of neoclassicism. Chapman' s translation is beautiful, while the translation of R. lattinmore, a translator in the 20th century, is fresh and casual. In general, Pope's translation of Homer's epic is neat and reproduces Homer's poetic flavor, charm to a certain extent.

===4. The National and World Visions of Translation===

The 17th century to the 19th century is the climax of the development of modern western translation theory. A large number of writers and translators with world reputation have sprung up in Britain, France and Germany. Generally speaking, the free translation school originated in France in the 17th century and had a great influence on Britain. There were many innovations in translation theory in Britain from the 17th to the 18th century. The discussion at this stage mainly focused on the translation of classical poetry. In Germany, with the emergence of “Stum and Drang, Storm and Stress” and Romanticism in the 18th and 19th centuries, German Conservatism has showed up.

The 19th century, represented by the "Stum and Drang, Storm and Stress", is a period of great development of German Conservatism, represented by the "German Romanticism", which is also a stage of the transition of literary and artistic forms from classicism to Romanticism, which can also be said to be the romanticism in the naive period. The central representatives of this movement are the famous writers Goethe and Schiller. Goethe's ''The Troubles of Young Witt'' is the representative work of this period, expressing the conflict of human inner feelings and the spirit of striving. This movement lasted for nearly 30 years, from 1765 to 1795, and then was replaced by the mature romantic movement. A large number of linguists, writers and translation theorists such as Herder, Goethe, Humboldt, Schleiermacher, Holderlin and Schlegel came on stage one after another. They translated a considerable number of classical works of ancient Greece and Rome, also translated and introduced a large number of works of other European countries (such as the translation of Shakespeare's plays). German literature in this period has won a great reputation all over the world. Due to the participation of the above-mentioned literature, German translation activities and translation research have also reached an unprecedented zenith, which has laid a solid foundation for western translation theory in the 20th century.

====4.1 Language Shapes the National Identity: Johann Gottfried Herder and Wilhelm von Humboldt====

The humanistic thoughts sweeping the whole Europe, such as humanism, classicism, enlightenment, “Stum and Drang, Storm and Stress” and romanticism, make the relationship between European countries closer and closer. These movements provide important conditions and environment for the birth of translation theory. Herder and Humboldt demonstrated the relationship between language, translation and national identity from the perspective of language.

Johann Gottfried Herder (1744 - 1803) is a pioneer of the German rapid movement. As a forerunner of the enlightenment movement, Herder always focuses on how to use translation to transform German literature. In his opinion, the growth of German national literature is inseparable from translation. His views on translation are scattered on the origin of language, on the more recent German literature and other works. These views on language and translation have a great impact on language education and translation circles. From the perspective of language, he believes that speech is invented by man, and language represents rationality: "Without language, man has no reason and without reason no language." Herder's view of language nature opposes taking language as a simple tool and medium. He believes that language is a national organism, which can best reflect the national spirit and national soul (Volksgeist) , is the bond that forms the nation-state. Whoever loses his own language loses his identity and patriotism. Germans should be proud of their language and nation. Herder and Humboldt put forward that language determines thinking, which not only provides a basis for the self hypothesis theory two centuries later, but also gives a view of the uncertainty and untranslatability of translation buried the foreshadowing. (Rousseau, Jean Jacques and John Gottfried Herder 1986: 121)

Herder opposes the deification of language and insists on explaining the generation of language from the perspective of naturalism. He believes that rationality is the key to the origin of language. He tries to provide a natural rather than reductionist explanation for human characteristics and creativity, and seeks the origin of language in human natural characteristics. Herder's natural reductionism is not only used to explain the origin of language, but also the power of natural interpretation is extended to all fields of culture to reflect the characteristics of human creation, such as art, religion, law, etc. Through the power of natural interpretation, they are included in a scientific world outlook. This language turning point fundamental. Its significance is that people begin to pay real attention to the problems of language itself, such as the essence of language, the relationship between language and rationality, how language can be expressed, etc. Then Humboldt inherited and developed Herder's view. Language blindness is no longer just a vassal of rationality, a simple tool. From then on, he began to get out of the influence of theology and gradually formed an independent philosophy of language.

Herder's views had a great impact on Humboldt.

Wilhelm von Humboldt (1767-1835) is the most influential linguist, philosopher and educational reformer in the West.

Humboldt's main translation views are:

(1) Language determines thought and culture. A language is the reflection of real life. Language has unique national characteristics, and the languages of different nationalities reflect their cultural characteristics. Different languages reflect the world outlook of different nationalities. It emphasizes the reaction of language to thinking: language determines thought and mode of thinking, and different languages have different schemata to understand the world. Translation consists of different languages and forms different language schemata. Therefore, equivalence in translation is impossible.

(2) The more you know a language, the greater the distance between nations. This is because different nations have different world views and different language habits. From this point of view, because we are aware of the great differences between different languages, we believe that it is impossible to achieve complete equivalence. Therefore, mutual translation between languages is impossible.

(3) Translation should deeply understand the era, atmosphere and character of the original author, and strive to avoid the obscure side of the translation and ensure the readability of the translation.

(4) The phonological beauty of poetry and drama translation must be maintained. Meter pattern is the key to all beauty.

Humboldt' s contribution to translation theory is that he is aware of the tension and contradiction of translation. He does not recognize the existence of a universal conceptual system beyond language boundaries. Therefore, his view of translation was interpreted as the representative of untranslatability in the 20th century. Because there are two meanings of "ubersetzen" and "dolmesschen" in German translation, "understanding" always carries "pre-understanding", that is, with personal subjective vision or prejudice, it is impossible to completely reach a consensus between different individuals. "Dolmesschen" let us have the opportunity to enter the commonness of language, which enables translation to cross specific social and cultural factors, and it is possible to understand each other between languages, so there is a reason to seek equivalence in translation. This is Humboldt' s dualism of language and translation.

====4.2 The Soaring Literary Translation: Johann Wolfgang Goethe and Friedrich Holdern====

Johann Wolfgang Goethe (1749-1832) is the greatest poet, translator and outstanding representative of Romanticism in Germany.

To sum up, Goethe believes that translation can be divided into three types.

(1) Facing different types of readers, we need different types of translation. In poetry and truth, he said, "if you want to influence the masses, a simple translation is always the best. Critical translations vying with the original really are of use only for conversations the learned conduct among themselves."(Lefevere, Andrew 1992: 75)

(2) Adaptation or imitation translation. "The second stage is that the translator translates contentedly according to his own wishes. Even if the translator tries to integrate himself into foreign situations, I would rather call this stage imitation stage."(Lefevere, Andrew 1992: 75)

(3) Pay attention to rhythmic literal translation sentence by sentence. Homer's ''Odyssey'' and ''Iliad'' translated by German Translator J. h. Voss made him famous overnight. His translation has beautiful rhythm and intonation and accurate choice of words and sentences. Although the public could not accept the strict literal translation rhythm at first, it gradually recognized it later. Goethe emphasizes that public taste can be shaped through translation.

Among all these three types of translation, Goethe most appreciates the literal translation that pays attention to rhythm, because as a poet, he takes into account the poetic characteristics such as meter pattern and rhythm, which are the true qualities of the original author. Goethe mentioned two principles of Translation: first, foreign writers move closer to the target language, so that his works look the same as the target language writers; Second, readers cross the border to adapt to foreign customs and language characteristics.

Goethe's translation theory is based on his romantic aesthetics. He believes that literal translation can not only convey the information of the original text, but also express the beauty of the translation.

Friedrich Holderlin (1770-1843) is the greatest lyric poet in the German Romantic period.

Holderlin advocates that every language of human beings is derived from the same basic language form, that is, what Benjamin called "pure language". Not only translation, but also creation should return to this ancient source. In translation practice, translators should adhere to literal translation, reflecting the heterogeneity of the original text. In modern poetics and translation studies, Holderlin' s language ontology is mainly based on the view of looking for "words beyond speech". This literal translation brings, of course, lexical obscurity, and Holderlin believes that the more obscure the translation, the more enlightening the tension. This poetic dialectics undoubtedly has a mystical point of view. It is very interesting that in the 20th century, people talked most about the essence of translation. The main point of view related to the essence of translation comes from Holderlin, a "firm guardian of letters" of the literal translation school. He created endless topics for translation. To some extent, Holderlin is the prophet of contemporary translation theory.

===5. Conclusion===

To sum up, as an important stage in the development of Western culture, humanistic trend cannot show up without the practice of cultural translation. As a part of the social thought at that time, translation thought is related to the social and cultural context in that period. Like other social trends at that time, translation thoughts in the period of the Renaissance and the Religious Reformation have played an important role in the evolution of the history of western translation, both returning to the original period and moving towards the new era. Humanistic trend is a turning point in the history of western translation. In short, the emergence of humanistic trend on the historical stage indicates that translation practice and theory have broken away from the "dark" Middle Ages and makes a huge step forward".

===References===

Bassnett, Susan. (1980) Translation Studies. London and New York: Methuen.

Lefevere, Andrew. eds. (1992) Translation/History/Culture: A Source Book. London : Routledge.

Munday, Jeremy. (2001) Introducing Translation Studies : Theories and Applications. London/New York : Routledge.

Nida, Eugene. (1964) Toward A Science of Translating. Leiden: E. J. Brill.

Robinson, Douglas. (1997) Western Translation Theory : from Herodotus to Nietzsche. Manchester : St. Jerome Publishing.

Rousseau, Jean Jacques and John Gottfried Herder. (1986) On the Oringin of Language. Chicago : The University of Chicago Press.

Tan Zaixi tan 谭载喜(2004). 西方翻译简史 A Brief History of Western Translation. 北京：商务印书馆 Beijing: The Commercial Press.

Wang Zuoliang, He Qishen 王佐良、何其莘(1996). 英国文艺复兴时期文学史 A History of English Renaissance Literature. 北京：外语教学与研究出版社 Beijing: foreign Language Teaching and Research Press.

Wang Zuoliang, He Qishen 王佐良，何其莘(1994). 英国文艺复兴时期的文学史 A History of English Renaissance Literature 北京：外语教学与研究出版社 Beijing: foreign Language Teaching and Research Press.

Xie Tianzhen 谢天振(2014). 中西翻译简史 A Brief History of Chinese and Western Translation. 北京：外语教学与研究出版社 Beijing: foreign Language Teaching and Research Press.

Yao Xiaoping 姚小平(1998). 赫尔德论语言的起源译本 The Translation of Herder' s Treatise on the Origin of Language 北京：商务印书馆 Beijing: The Commercial Press.

Written by --[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 08:38, 9 December 2021 (UTC)

Hist Trans Theo EN 12

2021-12-16T02:40:24Z

Wei Zhaoyan: /* Abstract */

'''History of Translation Theories'''

[[History_of_Translation_Theories|Overview Page of History of Translation Theories]]

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=12 魏兆妍 The Humanistic Trend in Western Translation Theory from the 14th to the 19th Century=
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'''The Humanistic Trend in Western Translation Theory from the 14th to the 19th Century'''

Wei Zhaoyan 魏兆妍 Hunan Normal University, China

===Abstract===
From the 14th century, Europe began to enter into the Renaissance, and the Christian world view gradually degenerated with the emergence of individual centered humanism. People who submitted to God were regarded as rational and unique individuals, emphasizing their creative potential and giving full play to their talents. With the invention of printing in the 15th century, education and schools began to be open to the public. Reading translated works from different countries was no longer a noble enjoyment. Words and information were transmitted in all directions and more quickly through translation. Translation was called the forerunner of the Renaissance. It can be said that without translation, there would be no European Renaissance and humanistic thought. In Europe, the writers, thinkers and scholars in this period were also translators who knew several languages, and we can see that translation and creation were closely linked. This paper will focus on the humanistic trend in western translation theory from the 14th to the 19th century, and will also enumerate the representative figures and their translation ideas in this period.

===Key words===
Humanistic trend, Western translation theory, Poetics of translation, National and world visions

===1. Introduction===

From the 14th century, Europe began to enter into the Renaissance. Dante, the last poet in the middle ages, completed ''The Divine Comedy'' in 1321. In Dante's mind, all human life experience, including life and death, must be explained by Christian faith in order to show its meaning and significance. This Christian worldview gradually degenerated with the emergence of individualism-centered humanism. All beings who submitted to God were regarded as rational, unique and creative individuals. In the past years, translators were servants attached to God. Now they have shifted from God to focusing on the translator. Personal development has become the goal and value of life. Although humanist thinkers, writers and translators still maintain the Christian faith, they put more emphasis on personal creative potential and give full play to people's strengths. The focus of translation activities in this period also shifted from the classics of the Christian Church to the translation of more secular humanistic works.

With the invention of printing in the 15th century, education and schools began to be open to the public. Reading translated works from different countries was no longer a noble enjoyment. Through the wings of translation, words and information were transmitted in all directions and more quickly. For example, Marco Polo (1254-1324) told the story of his travels in China, which spread all over the European continent through printed words. The invention of printing not only brought about a cultural revolution, but also a sharp increase in the number of translations. Translation is known as the forerunner of the Renaissance. It can be said that without translation, there would be no European Renaissance and humanistic thought. Take the role of translation in English literature for example: "Translation played a great role in the British Renaissance: first, as a pioneer, it was countless translated works that first caused the mental climate of humanism. Second, translation was still active in the era of the restoration of the king's government, but attention has turned to French works. In the intervening years, that is, in the half century from 1558 to 1603 when Queen Elizabeth was in office, translation activities were more frequent, and famous translations also appeared the most frequently, which constituted a translation climax in the whole history of English literature. " In the Queen Elizabeth era, translation reached an unprecedented prosperity, and good translations of famous works continued to emerge. In the following 17th to 18th centuries, neoclassical literary translation surpassed the previous stage. Translation was particularly important to the development of modern English language, literature and culture. (Wang Zuoliang, He Qishen 1996: 72）

In Europe, the writers, thinkers and scholars in this period were translators who knew several languages, translation and creation were closely linked. A large number of scholars and poets have expressed their opinions on translation. From the 14th to the 16th century, the most representative was Dante's "untranslatability of literature" in Italy (1265-1321); Erasmus of the Netherlands (1466 - 1536) relied on the translator's language knowledge in the translation of ''The Bible''; The translation of German Luther (1482 - 1546) must adopt the language of the people; The translators in Dore’ s mind (1509-1546) in France must understand the original content, be proficient in two languages, avoid word for word translation, adopt popular form and pay attention to the "five translation principles" of beautiful style; Poetry translation in English Chapman' s(1559-1634) mind can not be stiff translation, and the poetry translation method of "rebuilding a new image" can be used.

From the 17th to the 19th century, the representative figures were as follows. Abranco of France: the translation method of “the beautiful unfaithful ones” which emphasized literariness and readability; Bartow (1731-1780) : accurate translation view of "the author is the master and the translator is the servant"; Dryden (1747-1841) of England: three translation principles of "literal translation, free translation and imitation translation"; Tytler (1747-1814): three translation principles of "the translation must completely reproduce the thought of the original work: the style and tone of the translation must be consistent with the characteristics of the original; the translation must be as smooth as the original." ; Humanistic thinker Herder (1744-1830) of German Romanticism: made a pioneering thinking on the language, nationality and the characteristics of relativism in translation. Goethe (1749-1832) of German: called the translator as "the prophet of the people"; Humboldt (1767-1835): expressed the views on translatability and untranslatability which had a great impact on the 20th century. The foreignization translation method of Schleiermacher (1768-1834) in the later stage has influenced the deconstructive translation theory of the 20th century. For the above representative figures and different translation views, this paper will focus on the humanistic trend and enumerate some of the representatives according to the development sequence of the history of western translation theory.

===2. The "Rebels" Who Change the Traditional Concept of Translation===
Since Jerome, the debate between literal and free translation has begun in the west. The dispute between them actually involves the question of whether translation should be equivalent to the original text, that is, faithfulness, which is also a thread running through western translation theory for more than 2000 years. Since the Renaissance, people have become more and more aware of their own subjectivity, but religious influence is everywhere all the time. As a translator, if he has any unconventional translation behavior, he may be persecuted by spirit and body, even lead to death. A history of western translation can be said to be written in the life and blood of translators to a certain extent.

Between 1536 and 1546, three translators died. Two of them were caused by translation work. They were French translation theorist Dolet, religious reformer and translator Martin Luther as well as British translator William Tyndale.
====2.1 Etiene Dolet: Five Principles of Translation====
In the history of western translation theory, the first humanist to systematically expound translation theory was Etiene Dolet(1509-1546). Dolet is a translator, printer and scholar. He is the first translator suffering from translation since the Renaissance. He is a learned, versatile and liberated translator. His interpretation of classics was regarded as walking between orthodoxy and paganism. The European Church has advocated for a long time that the translation of ''The Bible'' should be literal translation, especially the Roman Catholic Church supported the "correct" and conventional translation of ''The Bible'' . Any interpretation and translation that deviated from the classics may be regarded as heresy, criticized and prohibited, and some adventurous interpreters and translators suffered a horrible fate. In 1546, the Theological Seminary of Sorbonne University in France identified that Dolet added the phrase "whereas you will no longer be anything at all" without foundation in the translation of a paragraph about "existence after human death" in Plato's dialogue ''Axiochus'', then he was burned alive at the stake. This paragraph is as follows:

The original text in Greek: Hoti peri men tous zôntas ouk estin, hoi de apothanontes ouk eisin. hôste oute peri se nun estin, ou gar tethnêkas oute ei ti pathois, estai peri se su gar ouk esei.

The French translation by Dolet: Pour ce qu'il est certain que la mort n'est point aux vivants: et quant aux defuncs, ilz ne sont plus: donques la mort les atouches encore moins. Parquoy elle ne peult rien sur toy, car tu n'est pas encores prest à deceder; et quand tu seras décédé, elle n'y pourra rien aussi，attendu que tu ne seras plus ''rien du tou''. (The text in sixteenth century cited by Ballard and Copley Christie)

The translation in English:Since it is certain death is not at all among the living: and as for the dead, they no longer are: therefore, death touches them even less. And hence death can do nothing to you, for you are not yet ready to die, and when you have died, death will also not be able to do anything, since you will no longer be ''anything at all''.

This paragraph by Plato is an obvious atheist view. It is close to the meaning of "how can you know death when you don't know life" (''The Analects of Confucius''). The original Greek version is abstruse and difficult to understand, and there are omissions in many places. It can't be translated without adding cohesive devices. The three words added in italic French and English in the text only play a role in connecting and do not change the meaning of the original text. Dolet's addition was accused of "blasphemy", because such translation was accused of "denying the eternity of the soul", and it was precisely because he "made" this fatal translation "mistake" that he was burned at the age of 37. This accusation was a typical "unnecessary" accusation. As a translator, Dolet only translated the meaning of the original text and did not understand it improperly. The key was that Plato described Aristotle's conversation, Sorbonne's clergy could not blame Plato, so they had to blame Dolet for adding the three French words “rien du tout” (nothing at all) , because these three words could not be found in Greek or Latin, the church accused him of misunderstanding Plato's intention, blaspheming the gods and not believing in eternity. So, the risk of translation arises.

Because Dolet was persecuted by the clergy to death, his "five principles on translation" was cherished by the western translation field. Dolet's "five principles on translation" came from ''The Way of Translating Well from One Language into Another'' (1540) The excerpts of the original text are as follows:

To translate well from one language into another requires in the main five things:

(1)In the first place, the translator must understand perfectly the sense and matter of the author he is translating, although he should feel free to clarifty obscurities.

(2)The translator should have a perfect knowldgwe of boh SL and IL, so as not to lessen the majesty of the language.

(3) The translator should avoid word for word renderings.

(4)The translator should avoid Latinate and unusual forms.

(5)The translator should assemble and liaise words eloquently to avoid clumsiness.(Robinson, Douglas 1997: 95~96)

From the five translation principles put forward by Dolet, he advocated free translation, especially he didn't advocate rigid literal translation and paid attention to the beauty of the translation. Articles 1 and 2 can be regarded as the necessary conditions for translators. The latter three advocate that translators should use fresh language expressions, avoid using rare Greek or Latin words, but use natural and fluent forms in the target language in order to improve the social status and influence of French, Italian, German and Spanish after the disintegration of Latin. These five principles emphasized that the translator cannot follow the master like a slave, being obedient and using word for word translation method which show that the translator is poor in skills and lacks rich lexical expression. In Dolet's view, translation is the translation of meaning, not words. In order to express the author's intention, the translator has the right to adjust and reverse the sentence pattern of the translation.

====2.2 Martin Luther: the Tongue of the Common Man====

Martin Luther (1483-1546) is a German religious reformer and translator in the 16th century. As a translator of the German version of ''The Bible'', he is known as the father of German language and literature. His discussion on translation is mainly recorded in ''The Circular Letter''(1530).

For hundreds of years, people have been used to going to church to listen to ''The Bible'', because under the control of Catholicism, ordinary people have no right to read it by themselves. Luther's translation of the obscure Latin ''Bible'' into contemporary popular German is a great revolution, which is as valuable as his religious revolution. When he translated the language of God into contemporary German, he hoped that the German version of the book would be converted into different dialects, put in people's hands and enter into everyone's heart. Once ''The Bible'' translated by Luther was published, ordinary people directly heard the call of God. Luther believed that the German version he translated must be clear and easy to understand. Therefore, he systematically formulated the translation principles. This popular and fluent translation method aimed to be free from the influence of previous established translations, because free translation was also a weapon for Luther to resist the church. His main translation principles are:

(1) The purpose and the original text that the reader cannot understand should be translated freely.

(2) When translating, we should give priority to the meaning and subject content of the text, and don't stick to the grammar of the original text.

(3) Try to use a language that is easy to understand by ordinary people.

(4) Metaphors and idioms in rhetoric can be translated into non figurative language.

(5) Adhere to the reader centered orientation.

In the use of the target language, Luther did not sanctify the target language, but broke the symbol system of it. Sometimes in order to inject vitality, Luther used the people's oral language to break the coherence of the target language and pay attention to people's personal understanding and personality, which undoubtedly strengthened the social communication of the translation. However, the fluency of the translation was not at the expense of the accuracy. Luther's Bible was also very accurate in information transmission. Because the language used by Luther in translating the Bible was a vivid language loved by the people, his translation was welcomed by the people, and has been spread for a long time. Luther's basic translation principle was “You must ask the mother at home，the children in the street, the ordinary man in the market and look at their mouth, how they speak,and translate that way; then they'll understand and see that you’re speaking to them in German.“ So, easy to understand was the most fundamental purpose of Luther's translation. (Munday, Jeremy 2001: 38.)

====2.3 William Tyndale: A Men Who Has Dedicated His Life to Translation====

During the Renaissance, the Englishman who died for translation is William Tyndale (1494 - 1536). He is the most influential Bible translator in the English language. The three most famous Bibles ——''Geneva Bible'', ''The Douay-Rheims Bible'' and ''The King James' Bible'' in the 16th and 17th centuries are all influenced by the translation of ''Tyndale Bible'', especially ''The King James' Bible''.

Tyndale was born in Gloucestershire, England. He studied at Oxford University in his early years and taught at Cambridge University after graduation. Cambridge's humanistic thought shaped his religious thought. He believed that since religious teachings and practices come from ''The Bible'', it is necessary for British people to read it in their own mother tongue. Inspired by Martin Luther's experience in translating the German version of it, Tyndale was determined to translate an English Bible. At that time, the British Conservatives led by Moore insisted that the law stipulated that the unauthorized translation of ''The Bible'' was punishable by death. Because Tyndale was persecuted by the British church, he had to flee to Germany, where religion was relatively free, to work as a translator. As a humanist, Tyndale exposed the hypocrisy of European religion. The church accused him of "weaving love and vain history and fables to poison young people". In 1536, Tyndale was arrested and burned. All in all, Tyndale's translated works were concise and simple, using popular English words and expressions, which pioneered the generation of English translation of ''The Bible''.

What the enumerated translators have in common is that in order to spread knowledge and distinguish truth, they bravely explore the road that predecessors have not gone through, and can devote their whole life to the sacred cause of translation. At the same time, it can also be said that their translation experience and principles are written with blood and life.

===3. The Incarnation of Muse: Poetics of Translation===
Muse (Μουσαι in Greek, muses in Latin) is the general name of the goddess of science and art in ancient Greek mythology. It was born of the god Zeus and Mnemosyne, the goddess of memory. The number of Muses is uncertain, some people say there are three goddesses and others nine goddesses. Since the Renaissance, European poets, like stars, have lit the sky over Europe. These poets not only make poetry, but also translate classical poetry, seek inspiration from traditional literature and summarize poetry translation theory. This spectacle is unprecedented.

Western classical translation focuses on the works of ancient Greek and Roman poets Homer, Virgil and Ovid. These translations have greatly improved the form and content of European countries, especially British poetry art, and brought new creative techniques and skills. For example, the introduction of English poetry should first be attributed to the translation of sonnets. The original form of fourteen line lyric poem originated from Italy is abbaabba, cdecde (the last six lines can also be cdcdcd). This poetic style has been translated and introduced by Surrey, and then improved by Spencer and Shakespeare to become the English sonnet (abab eded efef gg).

Muse, the goddess of literature and art in the west, is fond of English poets. The translation works of Chapman, Dryden, Pope, Shelley and other poets fully reflect the principle of "translating poetry in the poetic way". Their poetry translation practice and theory have been perfectly combined to form a unique literary translation theory.
====3.1 George Chapman: Decorate the Translation with Beautiful Words====
George Chapman (1559-1634) is an English poet, dramatist and translator. Chapman is famous for translating Homer's ''Iliad'' and ''Odyssey''. His translation inspires the British poet John Keats more than a century later (1815), so he writes ''On First looking into Chapman's Homer'', which becomes a masterpiece through the ages.

He worshipped the warrior hero of the Agamemnon family in Greek mythology all his life, which can be seen in his works. This is one of the reasons why he chose to translate Homer's works. In 1611, he completed the translation of the ''Iliad'' in sonnets. In 1616, he finished translating the ''Odyssey'' in the poetic style of heroic antithesis. His translation has become one of the most popular works in the history of English literature and played a connecting role in the history of literature. For 200 years after its publication, its translation has been the standard English translation of Homer's works. Chapman's theory of translation criticism can be seen from his translation of the preface written in the ''Iliad'':

That those translators stick in, that affect

Their word-for word traditions( where they lost )

The free grace of their natural dialect,

And shame their authors with a forced gloss)

More license from the words than may express

Their full compression, and make clear the author;

From whose truth, if you think my feet digress,

Because I use needful paraphrases...

( Extract from The Preface to the Reader of the Translation of ''Iliad'')

From Chapman' s translation practice and theory, there are several principles worth summarizing: (1) adhere to translating poetry in poetic way. (2) oppose word for word translation and focus on free translation. (3) adopt the "interpretation" method, advocate that the translation should be decorated. (4) translator should try to show the author's intention. Chapman pays equal attention to translation practice and theory. On the one hand, he pays attention to summarizing translation experience, on the other hand, he has clear principles as translation guidance. At the same time, the deep study of Homer's works and the poetic flavor of poetry are also the reasons for his success. Now let's take a look at a passage in his translation of the ''Iliad'':

All grave old man, and soldiers they had been, but for age

Now left the wars; yet Counselors they were exceeding sage

And as in well grown woods, on trees, cold spinier grasshoppers

Sit chirping and send voices out that scarce can piece our ears

For softness and their weaker faint sounds; so( talking on the tower )

These Seniors of the people sat, who, when they saw the power

Of beauty in the Queen ascend, even those cold-spirited peers,

Those wise and almost withered men, found this heat in their years

That they were forced( though whispering )to say: what men can blame.

The Greeks and Trojans to endure, for so admired a Dame,

So many miseries, and so long? (''Iliad'', iii, 159-169)

Chapman’ s translation was concrete and vivid, with abundant emotion. His rhythm was infectious. However, the addition method of Chapman was often criticized. For example, Homer asked Hector to say, "For well I know this in my mind and in my heart, the day will be, when scaled Troy shall perish." Chapman' s poem is:

And such a stormy day shall come，in mind and soul I know，

When scared Troy shall shed her towers, for tears of overthrow. (Wang Zuoliang, He Qishen 1994: 85)

The translation is rhyming, antithetical and neat, but "mind and soul", "storm", "towers" and "teams" are added. Optimistically,the translator has rich imagination. Negatively, the translator's fantasy destroys faithfulness. In any case, Chapman' s translation style is magnificent and beautiful, reflecting the gorgeous rhetoric of the Renaissance translation and the translator's deep literary foundation. No wonder Keats felt like "seeing a new star surge into the horizon" . Homer's style is fresh, simple, clear, direct, vivid and powerful. Chapman strives to reproduce Homer's epic features in diction, sentence making and style. He has practiced poetry translation and summed up translation theory. This was rare in England from the 16th to 17th centuries: "the task of a competent and valuable translator is to abide by the sentences, rhetoric and language forms used by his original author, abide by his true meaning and depth, and then decorate them with rhetoric and language forms suitable for the language of the translation itself." (Wang Zuoliang, He Qishen 1994: 82)

Nevertheless, because Chapman translated Homer's epic in sonnets and tried to create something in phonology, the sonnets still did not conform to the style of Homer's epic, but they made some progress compared with Milton's translation with blank poems. Chapman also translated Ovid' s ''Feast of Sound and Color'' . His free translation method can fully reflect the deep meaning of the original work and was the best way to translate Homer's poetry. Chapman regarded the translation of Homer's epic as a major event in his life and believed that he was born to translate Homer's epic. His poetry translation theory filled the gap of translation theory in the late 16th century and has been inherited and developed by poetry translators from the 17th to 18th centuries.

====3.2 John Denham: Fluent Poetry Translation====

John Denham (1615 - 1669) is the most famous poet and translator in England in the mid-17th century. When he was young, he went to Oxford to study law, but he never worked as a attorney. He becomes famous because he translated the epic ''Aeneas'' written by Virgil, an ancient Greek tragedy. Later, his poetry also makes him famous in the literary world. (Nida, Eugene 1964: 145)

Denham' s translation theory is mainly reflected in his two articles on translation. One is ''To Sir Richard Fanshawe upon his translation of pastor Fido'' (1648), and the other is The preface of his translation of Aeneas, ''The Destruction of Troy'' (1656) He believes that art expresses nature in a harmonious and elegant way, so the translator should go beyond the constraints of form and create a novel translation. The translation of literary works is different from the translation of religious and disciplinary works, the former can be less faithful, and the translation of ''Aeneas'' adopts the method of translating poetry in the poetic way, pays attention to the legal effect of poetry, and has achieved good results.

Specifically, Denham' s translation theories include:

(1) Denham follows a "neoclassicism" path ". The translation method pursues a new translation method, that is, the translator should innovate, especially in the charm of poetry. Translation should give full play to the advantages of the target language. This process of using the target language to accultrate the original text is also the domestication translation method. This innovative translation method is deeply influenced by the free translation method advocated by France in the 17th century, that is, the translation should be beautiful. Although Denham pursues the elegance and beauty of his translation, his translation is basically faithful. His free translation mainly focuses on the artistic conception or "poetry for poetry", rather than the translated vocabulary.

(2) Denham believes that the translator and the author enjoy the same status. As a poet and translator, he believes that the translator has the right to extract the core part from the original text and recreate it in the target language. If there is a key word in Denham's translation theory, it is "fluency", as if the translation is not like the translation, but more like creation. In this way, the sentence pattern of the original text can be rewritten, the unclear meaning can be clarified, the smooth poetic rhythm and form can be used, the irregular structure can be avoided, and the pause can be used to strengthen the coherence of poetic sentence patterns. Denham' s fluent translation makes people feel that reading his translation is not reading the translation, but reading the original English work. Therefore, he is known as "Virgil" in Britain.

(3) The translator has his own choice and motivation. Denham chooses the free translation method and the translation of ''Aeneas'' has its own purpose: the relationship between the king and his descendants in the Trojan story will remind the reader of Britain at that time. He hopes to give cultural support to the English monarch through the translation of such a work. There is an imaginary connection between Troy's pedigree and the defeated Caroline government at that time. This kind of ideological manipulation and rewriting confirms his translation It serves the royalists. Therefore, his translation is very flexible and has more freedom than other translators.

====3.3 John Dryden: Three Principles of Translation====

John Dryden (1631 - 1700), an English poet, translator and dramatist, is the most influential critic in Britain in the 17th century. His literary criticism has influenced the following two centuries. As a translation theorist, his discourse on translation is considered to be the most systematic in western translation theory before the 17th century.

The three translation types (1680) divided by Dryden and the three translation principles (1797) of Tytler all advocated to talk about translation in civilian rather than pretentious academic language, which is why their translation theory is still used today. As the "the first translation theorist" so far, Dryden' s translation views were mainly reflected in the translation of the ''Preface to Ovid' s Epistles''. Dryden classified three types of translation as follows:

All translations,I suppose, may be reduced to these three heads.

(1)Fist( At first, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]])), that of metaphrase，or turning an author word by word, and line by line, from one language into another. Thus, or near this manner, was Horace his ''Art of Poetry'' translated by Ben Jonson.

(2)The second way is that of ( delate that of, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]))paraphrase, or translation with latitude, where the author is ( delate “is” , corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]))kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that too is (it is admitted to, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]))admitted to be amplified, but not altered. Such is Mr. Walter' s translation of Virgil's fourth ''Aeneid''.

(3)The third way is that of imitation, where the translator( if now he has not lost that name) assumes the liberty, not only to vary from the words and sense, but to forsake them both as he sees occasion; and taking some hints from the original, to run division on the groundwork, as he pleases. Such is Mr. Cowley' s practice in turning two Odes of Pindar, and one of Horace, into English.

Among the three translation methods, Dryden is most opposed to Ben Jonson' s word for word translation, that is, literal translation. It is considered that this translation method is like "tis much like dancing on ropes with fed legs", which mechanically imitates the original text, but can not be separated from the constraints of its grammar, sentence pattern and poetic rhythm, so that its semantics is obscure. As for the great freedom of imitation translation, the purpose of the translator is to imitate the previous works in subject content and literary form, neither translated words nor translated meaning. Therefore, literal translation and imitation translation are the two most extreme forms of translation, and translators should take warning. Free translation is the translation method advocated by Dryden. The so-called free translation means that the translator must have a limit of freedom. He should always see the author and not lose his way. From this point of view, Dryden insists that poetry translation must "translate poetry with poetry", that is, the person who translates poetry must be a poet, so that he can understand the charm of the original and better express it in the target language and aesthetic language.

The three classifications of Dryden' s translation have a great influence on the western translation theory in the 20th century. They are an indispensable part of western translation theory. His translation theory represents the peak of the development of English and criticism theory in the 17th century.

====3.4 Alexander Pope: Translation of Homer Epic====

Alexander Pope (1688-1744) is an important poet and translator in the Enlightenment period of the 18th century. His ''An Essay on Criticism'' (744 lines) is written in antithetical verses, expounds ( expounding, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]))the aesthetic principles of classical literature and art, and establishes Pope's position in the history of English literature. Pope became famous for translating Homer's epics and won a reward of 10000 pounds and a great reputation.

Pope's translation of Homer's epic is accused by translation critics of not rhyming and reading like an 18th century Englishman. In other words, Pope's translation of Homer's epic is not so much a reflection of Homer's style as Pope's own style. His translation is full of personal characteristics and idioms. But when discussing translation, Pope said that his translation is better than those full of translation cavity. His main translation views are recorded in the translation preface of the ''Iliad''. Pope's translation theory is very similar to Dryden' s: (1) he advocates free translation and maintains the beauty of poetry translation. (2) it is the sacred mission of the translator not to add or delete arbitrarily in translation. (3) the relationship between literal translation and free translation is dialectical. Literal translation can not reproduce the beautiful meaning of the original text, but it is wrong to make up for it by hasty free translation. (4) servile loyalty to the literal meaning will only damage the poetic style of the original text. (5) the plain and clear style of Homer's epic in modern language is not a lesson. Translation should reflect the main characteristics of the original: when talking about the beauty and defects of the original, we should talk about the translation, which is the embodiment of the main characteristics of it. As long as the main parts of the original poem show the contents such as fables, etiquette and emotion, no translator will save and compress them out of his own prejudice. The same is true for the translation of every image, description and simile. If we save too much translation, it will weaken the main characteristics of the original poem.

In Pope's view, the translator should not only grasp the characteristics of the original text, but also deal with the idioms and metaphors in Homer's epic, strive to reproduce the image of the original text, and can not be arbitrarily deleted due to personal prejudice. The beautiful and noble poetic features of the original text should also be reproduced in the translation. Pope is often criticized for some affectation and arbitrary play. The accusation of the former may be related to Pope's neoclassicism. Arbitrary play is a major feature of some humanist translators.

Generally speaking, Pope adopts the domestication translation method to explain, understand and translate the original work with the poetic concepts of the Enlightenment period, in order to maintain a smooth and natural poetic flavor in the target language. Compared with the other two translators of Homer's epics Chapman and R. lattinmore, Pope's translation is generally very neat and elegant, reproducing the style of neoclassicism. Chapman' s translation is beautiful, while the translation of R. lattinmore, a translator in the 20th century, is fresh and casual. In general, Pope's translation of Homer's epic is neat and reproduces Homer's poetic flavor, charm to a certain extent.

===4. The National and World Visions of Translation===

The 17th century to the 19th century is the climax of the development of modern western translation theory. A large number of writers and translators with world reputation have sprung up in Britain, France and Germany. Generally speaking, the free translation school originated in France in the 17th century and had a great influence on Britain. There were many innovations in translation theory in Britain from the 17th to the 18th century. The discussion at this stage mainly focused on the translation of classical poetry. In Germany, with the emergence of “Stum and Drang, Storm and Stress” and Romanticism in the 18th and 19th centuries, German Conservatism has showed up.

The 19th century, represented by the "Stum and Drang, Storm and Stress", is a period of great development of German Conservatism, represented by the "German Romanticism", which is also a stage of the transition of literary and artistic forms from classicism to Romanticism, which can also be said to be the romanticism in the naive period. The central representatives of this movement are the famous writers Goethe and Schiller. Goethe's ''The Troubles of Young Witt'' is the representative work of this period, expressing the conflict of human inner feelings and the spirit of striving. This movement lasted for nearly 30 years, from 1765 to 1795, and then was replaced by the mature romantic movement. A large number of linguists, writers and translation theorists such as Herder, Goethe, Humboldt, Schleiermacher, Holderlin and Schlegel came on stage one after another. They translated a considerable number of classical works of ancient Greece and Rome, also translated and introduced a large number of works of other European countries (such as the translation of Shakespeare's plays). German literature in this period has won a great reputation all over the world. Due to the participation of the above-mentioned literature, German translation activities and translation research have also reached an unprecedented zenith, which has laid a solid foundation for western translation theory in the 20th century.

====4.1 Language Shapes the National Identity: Johann Gottfried Herder and Wilhelm von Humboldt====

The humanistic thoughts sweeping the whole Europe, such as humanism, classicism, enlightenment, “Stum and Drang, Storm and Stress” and romanticism, make the relationship between European countries closer and closer. These movements provide important conditions and environment for the birth of translation theory. Herder and Humboldt demonstrated the relationship between language, translation and national identity from the perspective of language.

Johann Gottfried Herder (1744 - 1803) is a pioneer of the German rapid movement. As a forerunner of the enlightenment movement, Herder always focuses on how to use translation to transform German literature. In his opinion, the growth of German national literature is inseparable from translation. His views on translation are scattered on the origin of language, on the more recent German literature and other works. These views on language and translation have a great impact on language education and translation circles. From the perspective of language, he believes that speech is invented by man, and language represents rationality: "Without language, man has no reason and without reason no language." Herder's view of language nature opposes taking language as a simple tool and medium. He believes that language is a national organism, which can best reflect the national spirit and national soul (Volksgeist) , is the bond that forms the nation-state. Whoever loses his own language loses his identity and patriotism. Germans should be proud of their language and nation. Herder and Humboldt put forward that language determines thinking, which not only provides a basis for the self hypothesis theory two centuries later, but also gives a view of the uncertainty and untranslatability of translation buried the foreshadowing. (Rousseau, Jean Jacques and John Gottfried Herder 1986: 121)

Herder opposes the deification of language and insists on explaining the generation of language from the perspective of naturalism. He believes that rationality is the key to the origin of language. He tries to provide a natural rather than reductionist explanation for human characteristics and creativity, and seeks the origin of language in human natural characteristics. Herder's natural reductionism is not only used to explain the origin of language, but also the power of natural interpretation is extended to all fields of culture to reflect the characteristics of human creation, such as art, religion, law, etc. Through the power of natural interpretation, they are included in a scientific world outlook. This language turning point fundamental. Its significance is that people begin to pay real attention to the problems of language itself, such as the essence of language, the relationship between language and rationality, how language can be expressed, etc. Then Humboldt inherited and developed Herder's view. Language blindness is no longer just a vassal of rationality, a simple tool. From then on, he began to get out of the influence of theology and gradually formed an independent philosophy of language.

Herder's views had a great impact on Humboldt.

Wilhelm von Humboldt (1767-1835) is the most influential linguist, philosopher and educational reformer in the West.

Humboldt's main translation views are:

(1) Language determines thought and culture. A language is the reflection of real life. Language has unique national characteristics, and the languages of different nationalities reflect their cultural characteristics. Different languages reflect the world outlook of different nationalities. It emphasizes the reaction of language to thinking: language determines thought and mode of thinking, and different languages have different schemata to understand the world. Translation consists of different languages and forms different language schemata. Therefore, equivalence in translation is impossible.

(2) The more you know a language, the greater the distance between nations. This is because different nations have different world views and different language habits. From this point of view, because we are aware of the great differences between different languages, we believe that it is impossible to achieve complete equivalence. Therefore, mutual translation between languages is impossible.

(3) Translation should deeply understand the era, atmosphere and character of the original author, and strive to avoid the obscure side of the translation and ensure the readability of the translation.

(4) The phonological beauty of poetry and drama translation must be maintained. Meter pattern is the key to all beauty.

Humboldt' s contribution to translation theory is that he is aware of the tension and contradiction of translation. He does not recognize the existence of a universal conceptual system beyond language boundaries. Therefore, his view of translation was interpreted as the representative of untranslatability in the 20th century. Because there are two meanings of "ubersetzen" and "dolmesschen" in German translation, "understanding" always carries "pre-understanding", that is, with personal subjective vision or prejudice, it is impossible to completely reach a consensus between different individuals. "Dolmesschen" let us have the opportunity to enter the commonness of language, which enables translation to cross specific social and cultural factors, and it is possible to understand each other between languages, so there is a reason to seek equivalence in translation. This is Humboldt' s dualism of language and translation.

====4.2 The Soaring Literary Translation: Johann Wolfgang Goethe and Friedrich Holdern====

Johann Wolfgang Goethe (1749-1832) is the greatest poet, translator and outstanding representative of Romanticism in Germany.

To sum up, Goethe believes that translation can be divided into three types.

(1) Facing different types of readers, we need different types of translation. In poetry and truth, he said, "if you want to influence the masses, a simple translation is always the best. Critical translations vying with the original really are of use only for conversations the learned conduct among themselves."(Lefevere, Andrew 1992: 75)

(2) Adaptation or imitation translation. "The second stage is that the translator translates contentedly according to his own wishes. Even if the translator tries to integrate himself into foreign situations, I would rather call this stage imitation stage."(Lefevere, Andrew 1992: 75)

(3) Pay attention to rhythmic literal translation sentence by sentence. Homer's ''Odyssey'' and ''Iliad'' translated by German Translator J. h. Voss made him famous overnight. His translation has beautiful rhythm and intonation and accurate choice of words and sentences. Although the public could not accept the strict literal translation rhythm at first, it gradually recognized it later. Goethe emphasizes that public taste can be shaped through translation.

Among all these three types of translation, Goethe most appreciates the literal translation that pays attention to rhythm, because as a poet, he takes into account the poetic characteristics such as meter pattern and rhythm, which are the true qualities of the original author. Goethe mentioned two principles of Translation: first, foreign writers move closer to the target language, so that his works look the same as the target language writers; Second, readers cross the border to adapt to foreign customs and language characteristics.

Goethe's translation theory is based on his romantic aesthetics. He believes that literal translation can not only convey the information of the original text, but also express the beauty of the translation.

Friedrich Holderlin (1770-1843) is the greatest lyric poet in the German Romantic period.

Holderlin advocates that every language of human beings is derived from the same basic language form, that is, what Benjamin called "pure language". Not only translation, but also creation should return to this ancient source. In translation practice, translators should adhere to literal translation, reflecting the heterogeneity of the original text. In modern poetics and translation studies, Holderlin' s language ontology is mainly based on the view of looking for "words beyond speech". This literal translation brings, of course, lexical obscurity, and Holderlin believes that the more obscure the translation, the more enlightening the tension. This poetic dialectics undoubtedly has a mystical point of view. It is very interesting that in the 20th century, people talked most about the essence of translation. The main point of view related to the essence of translation comes from Holderlin, a "firm guardian of letters" of the literal translation school. He created endless topics for translation. To some extent, Holderlin is the prophet of contemporary translation theory.

===5. Conclusion===

To sum up, as an important stage in the development of Western culture, humanistic trend cannot show up without the practice of cultural translation. As a part of the social thought at that time, translation thought is related to the social and cultural context in that period. Like other social trends at that time, translation thoughts in the period of the Renaissance and the Religious Reformation have played an important role in the evolution of the history of western translation, both returning to the original period and moving towards the new era. Humanistic trend is a turning point in the history of western translation. In short, the emergence of humanistic trend on the historical stage indicates that translation practice and theory have broken away from the "dark" Middle Ages and makes a huge step forward".

===References===

Bassnett, Susan. (1980) Translation Studies. London and New York: Methuen.

Lefevere, Andrew. eds. (1992) Translation/History/Culture: A Source Book. London : Routledge.

Munday, Jeremy. (2001) Introducing Translation Studies : Theories and Applications. London/New York : Routledge.

Nida, Eugene. (1964) Toward A Science of Translating. Leiden: E. J. Brill.

Robinson, Douglas. (1997) Western Translation Theory : from Herodotus to Nietzsche. Manchester : St. Jerome Publishing.

Rousseau, Jean Jacques and John Gottfried Herder. (1986) On the Oringin of Language. Chicago : The University of Chicago Press.

Tan Zaixi tan 谭载喜(2004). 西方翻译简史 A Brief History of Western Translation. 北京：商务印书馆 Beijing: The Commercial Press.

Wang Zuoliang, He Qishen 王佐良、何其莘(1996). 英国文艺复兴时期文学史 A History of English Renaissance Literature. 北京：外语教学与研究出版社 Beijing: foreign Language Teaching and Research Press.

Wang Zuoliang, He Qishen 王佐良，何其莘(1994). 英国文艺复兴时期的文学史 A History of English Renaissance Literature 北京：外语教学与研究出版社 Beijing: foreign Language Teaching and Research Press.

Xie Tianzhen 谢天振(2014). 中西翻译简史 A Brief History of Chinese and Western Translation. 北京：外语教学与研究出版社 Beijing: foreign Language Teaching and Research Press.

Yao Xiaoping 姚小平(1998). 赫尔德论语言的起源译本 The Translation of Herder' s Treatise on the Origin of Language 北京：商务印书馆 Beijing: The Commercial Press.

Written by --[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 08:38, 9 December 2021 (UTC)

Hist Trans Theo EN 12

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=12 魏兆妍 The Humanistic Trend in Western Translation Theory from the 14th to the 19th Century=
[[Hist_Trans_Theo_EN_12]]

'''The Humanistic Trend in Western Translation Theory from the 14th to the 19th Century'''

Wei Zhaoyan 魏兆妍 Hunan Normal University, China

===Abstract===
From the 14th century, Europe began to enter into the Renaissance, and the Christian world view gradually degenerated with the emergence of individual centered humanism. People who submitted to God were regarded as rational and unique individuals, emphasizing their creative potential and giving full play to their talents. With the invention of printing in the 15th century, education and schools began to be open to the public. Reading translated works from different countries was no longer a noble enjoyment. Words and information were transmitted in all directions and more quickly through translation. Translation was called the forerunner of the Renaissance. It can be said that without translation, there would be no European Renaissance and humanistic thought( the European Renaissance and humanistic thoughts didn’t appear, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]])) In Europe, the writers, thinkers and scholars in this period were also translators who knew several languages, ( and we can see that, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]])) translation and creation were closely linked. This paper will focus on the humanistic trend in western translation theory from the 14th to the 19th century, and will also enumerate the representative figures and their translation ideas in this period.

===Key words===
Humanistic trend, Western translation theory, Poetics of translation, National and world visions

===1. Introduction===

From the 14th century, Europe began to enter into the Renaissance. Dante, the last poet in the middle ages, completed ''The Divine Comedy'' in 1321. In Dante's mind, all human life experience, including life and death, must be explained by Christian faith in order to show its meaning and significance. This Christian worldview gradually degenerated with the emergence of individualism-centered humanism. All beings who submitted to God were regarded as rational, unique and creative individuals. In the past years, translators were servants attached to God. Now they have shifted from God to focusing on the translator. Personal development has become the goal and value of life. Although humanist thinkers, writers and translators still maintain the Christian faith, they put more emphasis on personal creative potential and give full play to people's strengths. The focus of translation activities in this period also shifted from the classics of the Christian Church to the translation of more secular humanistic works.

With the invention of printing in the 15th century, education and schools began to be open to the public. Reading translated works from different countries was no longer a noble enjoyment. Through the wings of translation, words and information were transmitted in all directions and more quickly. For example, Marco Polo (1254-1324) told the story of his travels in China, which spread all over the European continent through printed words. The invention of printing not only brought about a cultural revolution, but also a sharp increase in the number of translations. Translation is known as the forerunner of the Renaissance. It can be said that without translation, there would be no European Renaissance and humanistic thought. Take the role of translation in English literature for example: "Translation played a great role in the British Renaissance: first, as a pioneer, it was countless translated works that first caused the mental climate of humanism. Second, translation was still active in the era of the restoration of the king's government, but attention has turned to French works. In the intervening years, that is, in the half century from 1558 to 1603 when Queen Elizabeth was in office, translation activities were more frequent, and famous translations also appeared the most frequently, which constituted a translation climax in the whole history of English literature. " In the Queen Elizabeth era, translation reached an unprecedented prosperity, and good translations of famous works continued to emerge. In the following 17th to 18th centuries, neoclassical literary translation surpassed the previous stage. Translation was particularly important to the development of modern English language, literature and culture. (Wang Zuoliang, He Qishen 1996: 72）

In Europe, the writers, thinkers and scholars in this period were translators who knew several languages, translation and creation were closely linked. A large number of scholars and poets have expressed their opinions on translation. From the 14th to the 16th century, the most representative was Dante's "untranslatability of literature" in Italy (1265-1321); Erasmus of the Netherlands (1466 - 1536) relied on the translator's language knowledge in the translation of ''The Bible''; The translation of German Luther (1482 - 1546) must adopt the language of the people; The translators in Dore’ s mind (1509-1546) in France must understand the original content, be proficient in two languages, avoid word for word translation, adopt popular form and pay attention to the "five translation principles" of beautiful style; Poetry translation in English Chapman' s(1559-1634) mind can not be stiff translation, and the poetry translation method of "rebuilding a new image" can be used.

From the 17th to the 19th century, the representative figures were as follows. Abranco of France: the translation method of “the beautiful unfaithful ones” which emphasized literariness and readability; Bartow (1731-1780) : accurate translation view of "the author is the master and the translator is the servant"; Dryden (1747-1841) of England: three translation principles of "literal translation, free translation and imitation translation"; Tytler (1747-1814): three translation principles of "the translation must completely reproduce the thought of the original work: the style and tone of the translation must be consistent with the characteristics of the original; the translation must be as smooth as the original." ; Humanistic thinker Herder (1744-1830) of German Romanticism: made a pioneering thinking on the language, nationality and the characteristics of relativism in translation. Goethe (1749-1832) of German: called the translator as "the prophet of the people"; Humboldt (1767-1835): expressed the views on translatability and untranslatability which had a great impact on the 20th century. The foreignization translation method of Schleiermacher (1768-1834) in the later stage has influenced the deconstructive translation theory of the 20th century. For the above representative figures and different translation views, this paper will focus on the humanistic trend and enumerate some of the representatives according to the development sequence of the history of western translation theory.

===2. The "Rebels" Who Change the Traditional Concept of Translation===
Since Jerome, the debate between literal and free translation has begun in the west. The dispute between them actually involves the question of whether translation should be equivalent to the original text, that is, faithfulness, which is also a thread running through western translation theory for more than 2000 years. Since the Renaissance, people have become more and more aware of their own subjectivity, but religious influence is everywhere all the time. As a translator, if he has any unconventional translation behavior, he may be persecuted by spirit and body, even lead to death. A history of western translation can be said to be written in the life and blood of translators to a certain extent.

Between 1536 and 1546, three translators died. Two of them were caused by translation work. They were French translation theorist Dolet, religious reformer and translator Martin Luther as well as British translator William Tyndale.
====2.1 Etiene Dolet: Five Principles of Translation====
In the history of western translation theory, the first humanist to systematically expound translation theory was Etiene Dolet(1509-1546). Dolet is a translator, printer and scholar. He is the first translator suffering from translation since the Renaissance. He is a learned, versatile and liberated translator. His interpretation of classics was regarded as walking between orthodoxy and paganism. The European Church has advocated for a long time that the translation of ''The Bible'' should be literal translation, especially the Roman Catholic Church supported the "correct" and conventional translation of ''The Bible'' . Any interpretation and translation that deviated from the classics may be regarded as heresy, criticized and prohibited, and some adventurous interpreters and translators suffered a horrible fate. In 1546, the Theological Seminary of Sorbonne University in France identified that Dolet added the phrase "whereas you will no longer be anything at all" without foundation in the translation of a paragraph about "existence after human death" in Plato's dialogue ''Axiochus'', then he was burned alive at the stake. This paragraph is as follows:

The original text in Greek: Hoti peri men tous zôntas ouk estin, hoi de apothanontes ouk eisin. hôste oute peri se nun estin, ou gar tethnêkas oute ei ti pathois, estai peri se su gar ouk esei.

The French translation by Dolet: Pour ce qu'il est certain que la mort n'est point aux vivants: et quant aux defuncs, ilz ne sont plus: donques la mort les atouches encore moins. Parquoy elle ne peult rien sur toy, car tu n'est pas encores prest à deceder; et quand tu seras décédé, elle n'y pourra rien aussi，attendu que tu ne seras plus ''rien du tou''. (The text in sixteenth century cited by Ballard and Copley Christie)

The translation in English:Since it is certain death is not at all among the living: and as for the dead, they no longer are: therefore, death touches them even less. And hence death can do nothing to you, for you are not yet ready to die, and when you have died, death will also not be able to do anything, since you will no longer be ''anything at all''.

This paragraph by Plato is an obvious atheist view. It is close to the meaning of "how can you know death when you don't know life" (''The Analects of Confucius''). The original Greek version is abstruse and difficult to understand, and there are omissions in many places. It can't be translated without adding cohesive devices. The three words added in italic French and English in the text only play a role in connecting and do not change the meaning of the original text. Dolet's addition was accused of "blasphemy", because such translation was accused of "denying the eternity of the soul", and it was precisely because he "made" this fatal translation "mistake" that he was burned at the age of 37. This accusation was a typical "unnecessary" accusation. As a translator, Dolet only translated the meaning of the original text and did not understand it improperly. The key was that Plato described Aristotle's conversation, Sorbonne's clergy could not blame Plato, so they had to blame Dolet for adding the three French words “rien du tout” (nothing at all) , because these three words could not be found in Greek or Latin, the church accused him of misunderstanding Plato's intention, blaspheming the gods and not believing in eternity. So, the risk of translation arises.

Because Dolet was persecuted by the clergy to death, his "five principles on translation" was cherished by the western translation field. Dolet's "five principles on translation" came from ''The Way of Translating Well from One Language into Another'' (1540) The excerpts of the original text are as follows:

To translate well from one language into another requires in the main five things:

(1)In the first place, the translator must understand perfectly the sense and matter of the author he is translating, although he should feel free to clarifty obscurities.

(2)The translator should have a perfect knowldgwe of boh SL and IL, so as not to lessen the majesty of the language.

(3) The translator should avoid word for word renderings.

(4)The translator should avoid Latinate and unusual forms.

(5)The translator should assemble and liaise words eloquently to avoid clumsiness.(Robinson, Douglas 1997: 95~96)

From the five translation principles put forward by Dolet, he advocated free translation, especially he didn't advocate rigid literal translation and paid attention to the beauty of the translation. Articles 1 and 2 can be regarded as the necessary conditions for translators. The latter three advocate that translators should use fresh language expressions, avoid using rare Greek or Latin words, but use natural and fluent forms in the target language in order to improve the social status and influence of French, Italian, German and Spanish after the disintegration of Latin. These five principles emphasized that the translator cannot follow the master like a slave, being obedient and using word for word translation method which show that the translator is poor in skills and lacks rich lexical expression. In Dolet's view, translation is the translation of meaning, not words. In order to express the author's intention, the translator has the right to adjust and reverse the sentence pattern of the translation.

====2.2 Martin Luther: the Tongue of the Common Man====

Martin Luther (1483-1546) is a German religious reformer and translator in the 16th century. As a translator of the German version of ''The Bible'', he is known as the father of German language and literature. His discussion on translation is mainly recorded in ''The Circular Letter''(1530).

For hundreds of years, people have been used to going to church to listen to ''The Bible'', because under the control of Catholicism, ordinary people have no right to read it by themselves. Luther's translation of the obscure Latin ''Bible'' into contemporary popular German is a great revolution, which is as valuable as his religious revolution. When he translated the language of God into contemporary German, he hoped that the German version of the book would be converted into different dialects, put in people's hands and enter into everyone's heart. Once ''The Bible'' translated by Luther was published, ordinary people directly heard the call of God. Luther believed that the German version he translated must be clear and easy to understand. Therefore, he systematically formulated the translation principles. This popular and fluent translation method aimed to be free from the influence of previous established translations, because free translation was also a weapon for Luther to resist the church. His main translation principles are:

(1) The purpose and the original text that the reader cannot understand should be translated freely.

(2) When translating, we should give priority to the meaning and subject content of the text, and don't stick to the grammar of the original text.

(3) Try to use a language that is easy to understand by ordinary people.

(4) Metaphors and idioms in rhetoric can be translated into non figurative language.

(5) Adhere to the reader centered orientation.

In the use of the target language, Luther did not sanctify the target language, but broke the symbol system of it. Sometimes in order to inject vitality, Luther used the people's oral language to break the coherence of the target language and pay attention to people's personal understanding and personality, which undoubtedly strengthened the social communication of the translation. However, the fluency of the translation was not at the expense of the accuracy. Luther's Bible was also very accurate in information transmission. Because the language used by Luther in translating the Bible was a vivid language loved by the people, his translation was welcomed by the people, and has been spread for a long time. Luther's basic translation principle was “You must ask the mother at home，the children in the street, the ordinary man in the market and look at their mouth, how they speak,and translate that way; then they'll understand and see that you’re speaking to them in German.“ So, easy to understand was the most fundamental purpose of Luther's translation. (Munday, Jeremy 2001: 38.)

====2.3 William Tyndale: A Men Who Has Dedicated His Life to Translation====

During the Renaissance, the Englishman who died for translation is William Tyndale (1494 - 1536). He is the most influential Bible translator in the English language. The three most famous Bibles ——''Geneva Bible'', ''The Douay-Rheims Bible'' and ''The King James' Bible'' in the 16th and 17th centuries are all influenced by the translation of ''Tyndale Bible'', especially ''The King James' Bible''.

Tyndale was born in Gloucestershire, England. He studied at Oxford University in his early years and taught at Cambridge University after graduation. Cambridge's humanistic thought shaped his religious thought. He believed that since religious teachings and practices come from ''The Bible'', it is necessary for British people to read it in their own mother tongue. Inspired by Martin Luther's experience in translating the German version of it, Tyndale was determined to translate an English Bible. At that time, the British Conservatives led by Moore insisted that the law stipulated that the unauthorized translation of ''The Bible'' was punishable by death. Because Tyndale was persecuted by the British church, he had to flee to Germany, where religion was relatively free, to work as a translator. As a humanist, Tyndale exposed the hypocrisy of European religion. The church accused him of "weaving love and vain history and fables to poison young people". In 1536, Tyndale was arrested and burned. All in all, Tyndale's translated works were concise and simple, using popular English words and expressions, which pioneered the generation of English translation of ''The Bible''.

What the enumerated translators have in common is that in order to spread knowledge and distinguish truth, they bravely explore the road that predecessors have not gone through, and can devote their whole life to the sacred cause of translation. At the same time, it can also be said that their translation experience and principles are written with blood and life.

===3. The Incarnation of Muse: Poetics of Translation===
Muse (Μουσαι in Greek, muses in Latin) is the general name of the goddess of science and art in ancient Greek mythology. It was born of the god Zeus and Mnemosyne, the goddess of memory. The number of Muses is uncertain, some people say there are three goddesses and others nine goddesses. Since the Renaissance, European poets, like stars, have lit the sky over Europe. These poets not only make poetry, but also translate classical poetry, seek inspiration from traditional literature and summarize poetry translation theory. This spectacle is unprecedented.

Western classical translation focuses on the works of ancient Greek and Roman poets Homer, Virgil and Ovid. These translations have greatly improved the form and content of European countries, especially British poetry art, and brought new creative techniques and skills. For example, the introduction of English poetry should first be attributed to the translation of sonnets. The original form of fourteen line lyric poem originated from Italy is abbaabba, cdecde (the last six lines can also be cdcdcd). This poetic style has been translated and introduced by Surrey, and then improved by Spencer and Shakespeare to become the English sonnet (abab eded efef gg).

Muse, the goddess of literature and art in the west, is fond of English poets. The translation works of Chapman, Dryden, Pope, Shelley and other poets fully reflect the principle of "translating poetry in the poetic way". Their poetry translation practice and theory have been perfectly combined to form a unique literary translation theory.
====3.1 George Chapman: Decorate the Translation with Beautiful Words====
George Chapman (1559-1634) is an English poet, dramatist and translator. Chapman is famous for translating Homer's ''Iliad'' and ''Odyssey''. His translation inspires the British poet John Keats more than a century later (1815), so he writes ''On First looking into Chapman's Homer'', which becomes a masterpiece through the ages.

He worshipped the warrior hero of the Agamemnon family in Greek mythology all his life, which can be seen in his works. This is one of the reasons why he chose to translate Homer's works. In 1611, he completed the translation of the ''Iliad'' in sonnets. In 1616, he finished translating the ''Odyssey'' in the poetic style of heroic antithesis. His translation has become one of the most popular works in the history of English literature and played a connecting role in the history of literature. For 200 years after its publication, its translation has been the standard English translation of Homer's works. Chapman's theory of translation criticism can be seen from his translation of the preface written in the ''Iliad'':

That those translators stick in, that affect

Their word-for word traditions( where they lost )

The free grace of their natural dialect,

And shame their authors with a forced gloss)

More license from the words than may express

Their full compression, and make clear the author;

From whose truth, if you think my feet digress,

Because I use needful paraphrases...

( Extract from The Preface to the Reader of the Translation of ''Iliad'')

From Chapman' s translation practice and theory, there are several principles worth summarizing: (1) adhere to translating poetry in poetic way. (2) oppose word for word translation and focus on free translation. (3) adopt the "interpretation" method, advocate that the translation should be decorated. (4) translator should try to show the author's intention. Chapman pays equal attention to translation practice and theory. On the one hand, he pays attention to summarizing translation experience, on the other hand, he has clear principles as translation guidance. At the same time, the deep study of Homer's works and the poetic flavor of poetry are also the reasons for his success. Now let's take a look at a passage in his translation of the ''Iliad'':

All grave old man, and soldiers they had been, but for age

Now left the wars; yet Counselors they were exceeding sage

And as in well grown woods, on trees, cold spinier grasshoppers

Sit chirping and send voices out that scarce can piece our ears

For softness and their weaker faint sounds; so( talking on the tower )

These Seniors of the people sat, who, when they saw the power

Of beauty in the Queen ascend, even those cold-spirited peers,

Those wise and almost withered men, found this heat in their years

That they were forced( though whispering )to say: what men can blame.

The Greeks and Trojans to endure, for so admired a Dame,

So many miseries, and so long? (''Iliad'', iii, 159-169)

Chapman’ s translation was concrete and vivid, with abundant emotion. His rhythm was infectious. However, the addition method of Chapman was often criticized. For example, Homer asked Hector to say, "For well I know this in my mind and in my heart, the day will be, when scaled Troy shall perish." Chapman' s poem is:

And such a stormy day shall come，in mind and soul I know，

When scared Troy shall shed her towers, for tears of overthrow. (Wang Zuoliang, He Qishen 1994: 85)

The translation is rhyming, antithetical and neat, but "mind and soul", "storm", "towers" and "teams" are added. Optimistically,the translator has rich imagination. Negatively, the translator's fantasy destroys faithfulness. In any case, Chapman' s translation style is magnificent and beautiful, reflecting the gorgeous rhetoric of the Renaissance translation and the translator's deep literary foundation. No wonder Keats felt like "seeing a new star surge into the horizon" . Homer's style is fresh, simple, clear, direct, vivid and powerful. Chapman strives to reproduce Homer's epic features in diction, sentence making and style. He has practiced poetry translation and summed up translation theory. This was rare in England from the 16th to 17th centuries: "the task of a competent and valuable translator is to abide by the sentences, rhetoric and language forms used by his original author, abide by his true meaning and depth, and then decorate them with rhetoric and language forms suitable for the language of the translation itself." (Wang Zuoliang, He Qishen 1994: 82)

Nevertheless, because Chapman translated Homer's epic in sonnets and tried to create something in phonology, the sonnets still did not conform to the style of Homer's epic, but they made some progress compared with Milton's translation with blank poems. Chapman also translated Ovid' s ''Feast of Sound and Color'' . His free translation method can fully reflect the deep meaning of the original work and was the best way to translate Homer's poetry. Chapman regarded the translation of Homer's epic as a major event in his life and believed that he was born to translate Homer's epic. His poetry translation theory filled the gap of translation theory in the late 16th century and has been inherited and developed by poetry translators from the 17th to 18th centuries.

====3.2 John Denham: Fluent Poetry Translation====

John Denham (1615 - 1669) is the most famous poet and translator in England in the mid-17th century. When he was young, he went to Oxford to study law, but he never worked as a attorney. He becomes famous because he translated the epic ''Aeneas'' written by Virgil, an ancient Greek tragedy. Later, his poetry also makes him famous in the literary world. (Nida, Eugene 1964: 145)

Denham' s translation theory is mainly reflected in his two articles on translation. One is ''To Sir Richard Fanshawe upon his translation of pastor Fido'' (1648), and the other is The preface of his translation of Aeneas, ''The Destruction of Troy'' (1656) He believes that art expresses nature in a harmonious and elegant way, so the translator should go beyond the constraints of form and create a novel translation. The translation of literary works is different from the translation of religious and disciplinary works, the former can be less faithful, and the translation of ''Aeneas'' adopts the method of translating poetry in the poetic way, pays attention to the legal effect of poetry, and has achieved good results.

Specifically, Denham' s translation theories include:

(1) Denham follows a "neoclassicism" path ". The translation method pursues a new translation method, that is, the translator should innovate, especially in the charm of poetry. Translation should give full play to the advantages of the target language. This process of using the target language to accultrate the original text is also the domestication translation method. This innovative translation method is deeply influenced by the free translation method advocated by France in the 17th century, that is, the translation should be beautiful. Although Denham pursues the elegance and beauty of his translation, his translation is basically faithful. His free translation mainly focuses on the artistic conception or "poetry for poetry", rather than the translated vocabulary.

(2) Denham believes that the translator and the author enjoy the same status. As a poet and translator, he believes that the translator has the right to extract the core part from the original text and recreate it in the target language. If there is a key word in Denham's translation theory, it is "fluency", as if the translation is not like the translation, but more like creation. In this way, the sentence pattern of the original text can be rewritten, the unclear meaning can be clarified, the smooth poetic rhythm and form can be used, the irregular structure can be avoided, and the pause can be used to strengthen the coherence of poetic sentence patterns. Denham' s fluent translation makes people feel that reading his translation is not reading the translation, but reading the original English work. Therefore, he is known as "Virgil" in Britain.

(3) The translator has his own choice and motivation. Denham chooses the free translation method and the translation of ''Aeneas'' has its own purpose: the relationship between the king and his descendants in the Trojan story will remind the reader of Britain at that time. He hopes to give cultural support to the English monarch through the translation of such a work. There is an imaginary connection between Troy's pedigree and the defeated Caroline government at that time. This kind of ideological manipulation and rewriting confirms his translation It serves the royalists. Therefore, his translation is very flexible and has more freedom than other translators.

====3.3 John Dryden: Three Principles of Translation====

John Dryden (1631 - 1700), an English poet, translator and dramatist, is the most influential critic in Britain in the 17th century. His literary criticism has influenced the following two centuries. As a translation theorist, his discourse on translation is considered to be the most systematic in western translation theory before the 17th century.

The three translation types (1680) divided by Dryden and the three translation principles (1797) of Tytler all advocated to talk about translation in civilian rather than pretentious academic language, which is why their translation theory is still used today. As the "the first translation theorist" so far, Dryden' s translation views were mainly reflected in the translation of the ''Preface to Ovid' s Epistles''. Dryden classified three types of translation as follows:

All translations,I suppose, may be reduced to these three heads.

(1)Fist( At first, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]])), that of metaphrase，or turning an author word by word, and line by line, from one language into another. Thus, or near this manner, was Horace his ''Art of Poetry'' translated by Ben Jonson.

(2)The second way is that of ( delate that of, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]))paraphrase, or translation with latitude, where the author is ( delate “is” , corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]))kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that too is (it is admitted to, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]))admitted to be amplified, but not altered. Such is Mr. Walter' s translation of Virgil's fourth ''Aeneid''.

(3)The third way is that of imitation, where the translator( if now he has not lost that name) assumes the liberty, not only to vary from the words and sense, but to forsake them both as he sees occasion; and taking some hints from the original, to run division on the groundwork, as he pleases. Such is Mr. Cowley' s practice in turning two Odes of Pindar, and one of Horace, into English.

Among the three translation methods, Dryden is most opposed to Ben Jonson' s word for word translation, that is, literal translation. It is considered that this translation method is like "tis much like dancing on ropes with fed legs", which mechanically imitates the original text, but can not be separated from the constraints of its grammar, sentence pattern and poetic rhythm, so that its semantics is obscure. As for the great freedom of imitation translation, the purpose of the translator is to imitate the previous works in subject content and literary form, neither translated words nor translated meaning. Therefore, literal translation and imitation translation are the two most extreme forms of translation, and translators should take warning. Free translation is the translation method advocated by Dryden. The so-called free translation means that the translator must have a limit of freedom. He should always see the author and not lose his way. From this point of view, Dryden insists that poetry translation must "translate poetry with poetry", that is, the person who translates poetry must be a poet, so that he can understand the charm of the original and better express it in the target language and aesthetic language.

The three classifications of Dryden' s translation have a great influence on the western translation theory in the 20th century. They are an indispensable part of western translation theory. His translation theory represents the peak of the development of English and criticism theory in the 17th century.

====3.4 Alexander Pope: Translation of Homer Epic====

Alexander Pope (1688-1744) is an important poet and translator in the Enlightenment period of the 18th century. His ''An Essay on Criticism'' (744 lines) is written in antithetical verses, expounds ( expounding, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]))the aesthetic principles of classical literature and art, and establishes Pope's position in the history of English literature. Pope became famous for translating Homer's epics and won a reward of 10000 pounds and a great reputation.

Pope's translation of Homer's epic is accused by translation critics of not rhyming and reading like an 18th century Englishman. In other words, Pope's translation of Homer's epic is not so much a reflection of Homer's style as Pope's own style. His translation is full of personal characteristics and idioms. But when discussing translation, Pope said that his translation is better than those full of translation cavity. His main translation views are recorded in the translation preface of the ''Iliad''. Pope's translation theory is very similar to Dryden' s: (1) he advocates free translation and maintains the beauty of poetry translation. (2) it is the sacred mission of the translator not to add or delete arbitrarily in translation. (3) the relationship between literal translation and free translation is dialectical. Literal translation can not reproduce the beautiful meaning of the original text, but it is wrong to make up for it by hasty free translation. (4) servile loyalty to the literal meaning will only damage the poetic style of the original text. (5) the plain and clear style of Homer's epic in modern language is not a lesson. Translation should reflect the main characteristics of the original: when talking about the beauty and defects of the original, we should talk about the translation, which is the embodiment of the main characteristics of it. As long as the main parts of the original poem show the contents such as fables, etiquette and emotion, no translator will save and compress them out of his own prejudice. The same is true for the translation of every image, description and simile. If we save too much translation, it will weaken the main characteristics of the original poem.

In Pope's view, the translator should not only grasp the characteristics of the original text, but also deal with the idioms and metaphors in Homer's epic, strive to reproduce the image of the original text, and can not be arbitrarily deleted due to personal prejudice. The beautiful and noble poetic features of the original text should also be reproduced in the translation. Pope is often criticized for some affectation and arbitrary play. The accusation of the former may be related to Pope's neoclassicism. Arbitrary play is a major feature of some humanist translators.

Generally speaking, Pope adopts the domestication translation method to explain, understand and translate the original work with the poetic concepts of the Enlightenment period, in order to maintain a smooth and natural poetic flavor in the target language. Compared with the other two translators of Homer's epics Chapman and R. lattinmore, Pope's translation is generally very neat and elegant, reproducing the style of neoclassicism. Chapman' s translation is beautiful, while the translation of R. lattinmore, a translator in the 20th century, is fresh and casual. In general, Pope's translation of Homer's epic is neat and reproduces Homer's poetic flavor, charm to a certain extent.

===4. The National and World Visions of Translation===

The 17th century to the 19th century is the climax of the development of modern western translation theory. A large number of writers and translators with world reputation have sprung up in Britain, France and Germany. Generally speaking, the free translation school originated in France in the 17th century and had a great influence on Britain. There were many innovations in translation theory in Britain from the 17th to the 18th century. The discussion at this stage mainly focused on the translation of classical poetry. In Germany, with the emergence of “Stum and Drang, Storm and Stress” and Romanticism in the 18th and 19th centuries, German Conservatism has showed up.

The 19th century, represented by the "Stum and Drang, Storm and Stress", is a period of great development of German Conservatism, represented by the "German Romanticism", which is also a stage of the transition of literary and artistic forms from classicism to Romanticism, which can also be said to be the romanticism in the naive period. The central representatives of this movement are the famous writers Goethe and Schiller. Goethe's ''The Troubles of Young Witt'' is the representative work of this period, expressing the conflict of human inner feelings and the spirit of striving. This movement lasted for nearly 30 years, from 1765 to 1795, and then was replaced by the mature romantic movement. A large number of linguists, writers and translation theorists such as Herder, Goethe, Humboldt, Schleiermacher, Holderlin and Schlegel came on stage one after another. They translated a considerable number of classical works of ancient Greece and Rome, also translated and introduced a large number of works of other European countries (such as the translation of Shakespeare's plays). German literature in this period has won a great reputation all over the world. Due to the participation of the above-mentioned literature, German translation activities and translation research have also reached an unprecedented zenith, which has laid a solid foundation for western translation theory in the 20th century.

====4.1 Language Shapes the National Identity: Johann Gottfried Herder and Wilhelm von Humboldt====

The humanistic thoughts sweeping the whole Europe, such as humanism, classicism, enlightenment, “Stum and Drang, Storm and Stress” and romanticism, make the relationship between European countries closer and closer. These movements provide important conditions and environment for the birth of translation theory. Herder and Humboldt demonstrated the relationship between language, translation and national identity from the perspective of language.

Johann Gottfried Herder (1744 - 1803) is a pioneer of the German rapid movement. As a forerunner of the enlightenment movement, Herder always focuses on how to use translation to transform German literature. In his opinion, the growth of German national literature is inseparable from translation. His views on translation are scattered on the origin of language, on the more recent German literature and other works. These views on language and translation have a great impact on language education and translation circles. From the perspective of language, he believes that speech is invented by man, and language represents rationality: "Without language, man has no reason and without reason no language." Herder's view of language nature opposes taking language as a simple tool and medium. He believes that language is a national organism, which can best reflect the national spirit and national soul (Volksgeist) , is the bond that forms the nation-state. Whoever loses his own language loses his identity and patriotism. Germans should be proud of their language and nation. Herder and Humboldt put forward that language determines thinking, which not only provides a basis for the self hypothesis theory two centuries later, but also gives a view of the uncertainty and untranslatability of translation buried the foreshadowing. (Rousseau, Jean Jacques and John Gottfried Herder 1986: 121)

Herder opposes the deification of language and insists on explaining the generation of language from the perspective of naturalism. He believes that rationality is the key to the origin of language. He tries to provide a natural rather than reductionist explanation for human characteristics and creativity, and seeks the origin of language in human natural characteristics. Herder's natural reductionism is not only used to explain the origin of language, but also the power of natural interpretation is extended to all fields of culture to reflect the characteristics of human creation, such as art, religion, law, etc. Through the power of natural interpretation, they are included in a scientific world outlook. This language turning point fundamental. Its significance is that people begin to pay real attention to the problems of language itself, such as the essence of language, the relationship between language and rationality, how language can be expressed, etc. Then Humboldt inherited and developed Herder's view. Language blindness is no longer just a vassal of rationality, a simple tool. From then on, he began to get out of the influence of theology and gradually formed an independent philosophy of language.

Herder's views had a great impact on Humboldt.

Wilhelm von Humboldt (1767-1835) is the most influential linguist, philosopher and educational reformer in the West.

Humboldt's main translation views are:

(1) Language determines thought and culture. A language is the reflection of real life. Language has unique national characteristics, and the languages of different nationalities reflect their cultural characteristics. Different languages reflect the world outlook of different nationalities. It emphasizes the reaction of language to thinking: language determines thought and mode of thinking, and different languages have different schemata to understand the world. Translation consists of different languages and forms different language schemata. Therefore, equivalence in translation is impossible.

(2) The more you know a language, the greater the distance between nations. This is because different nations have different world views and different language habits. From this point of view, because we are aware of the great differences between different languages, we believe that it is impossible to achieve complete equivalence. Therefore, mutual translation between languages is impossible.

(3) Translation should deeply understand the era, atmosphere and character of the original author, and strive to avoid the obscure side of the translation and ensure the readability of the translation.

(4) The phonological beauty of poetry and drama translation must be maintained. Meter pattern is the key to all beauty.

Humboldt' s contribution to translation theory is that he is aware of the tension and contradiction of translation. He does not recognize the existence of a universal conceptual system beyond language boundaries. Therefore, his view of translation was interpreted as the representative of untranslatability in the 20th century. Because there are two meanings of "ubersetzen" and "dolmesschen" in German translation, "understanding" always carries "pre-understanding", that is, with personal subjective vision or prejudice, it is impossible to completely reach a consensus between different individuals. "Dolmesschen" let us have the opportunity to enter the commonness of language, which enables translation to cross specific social and cultural factors, and it is possible to understand each other between languages, so there is a reason to seek equivalence in translation. This is Humboldt' s dualism of language and translation.

====4.2 The Soaring Literary Translation: Johann Wolfgang Goethe and Friedrich Holdern====

Johann Wolfgang Goethe (1749-1832) is the greatest poet, translator and outstanding representative of Romanticism in Germany.

To sum up, Goethe believes that translation can be divided into three types.

(1) Facing different types of readers, we need different types of translation. In poetry and truth, he said, "if you want to influence the masses, a simple translation is always the best. Critical translations vying with the original really are of use only for conversations the learned conduct among themselves."(Lefevere, Andrew 1992: 75)

(2) Adaptation or imitation translation. "The second stage is that the translator translates contentedly according to his own wishes. Even if the translator tries to integrate himself into foreign situations, I would rather call this stage imitation stage."(Lefevere, Andrew 1992: 75)

(3) Pay attention to rhythmic literal translation sentence by sentence. Homer's ''Odyssey'' and ''Iliad'' translated by German Translator J. h. Voss made him famous overnight. His translation has beautiful rhythm and intonation and accurate choice of words and sentences. Although the public could not accept the strict literal translation rhythm at first, it gradually recognized it later. Goethe emphasizes that public taste can be shaped through translation.

Among all these three types of translation, Goethe most appreciates the literal translation that pays attention to rhythm, because as a poet, he takes into account the poetic characteristics such as meter pattern and rhythm, which are the true qualities of the original author. Goethe mentioned two principles of Translation: first, foreign writers move closer to the target language, so that his works look the same as the target language writers; Second, readers cross the border to adapt to foreign customs and language characteristics.

Goethe's translation theory is based on his romantic aesthetics. He believes that literal translation can not only convey the information of the original text, but also express the beauty of the translation.

Friedrich Holderlin (1770-1843) is the greatest lyric poet in the German Romantic period.

Holderlin advocates that every language of human beings is derived from the same basic language form, that is, what Benjamin called "pure language". Not only translation, but also creation should return to this ancient source. In translation practice, translators should adhere to literal translation, reflecting the heterogeneity of the original text. In modern poetics and translation studies, Holderlin' s language ontology is mainly based on the view of looking for "words beyond speech". This literal translation brings, of course, lexical obscurity, and Holderlin believes that the more obscure the translation, the more enlightening the tension. This poetic dialectics undoubtedly has a mystical point of view. It is very interesting that in the 20th century, people talked most about the essence of translation. The main point of view related to the essence of translation comes from Holderlin, a "firm guardian of letters" of the literal translation school. He created endless topics for translation. To some extent, Holderlin is the prophet of contemporary translation theory.

===5. Conclusion===

To sum up, as an important stage in the development of Western culture, humanistic trend cannot show up without the practice of cultural translation. As a part of the social thought at that time, translation thought is related to the social and cultural context in that period. Like other social trends at that time, translation thoughts in the period of the Renaissance and the Religious Reformation have played an important role in the evolution of the history of western translation, both returning to the original period and moving towards the new era. Humanistic trend is a turning point in the history of western translation. In short, the emergence of humanistic trend on the historical stage indicates that translation practice and theory have broken away from the "dark" Middle Ages and makes a huge step forward".

===References===

Bassnett, Susan. (1980) Translation Studies. London and New York: Methuen.

Lefevere, Andrew. eds. (1992) Translation/History/Culture: A Source Book. London : Routledge.

Munday, Jeremy. (2001) Introducing Translation Studies : Theories and Applications. London/New York : Routledge.

Nida, Eugene. (1964) Toward A Science of Translating. Leiden: E. J. Brill.

Robinson, Douglas. (1997) Western Translation Theory : from Herodotus to Nietzsche. Manchester : St. Jerome Publishing.

Rousseau, Jean Jacques and John Gottfried Herder. (1986) On the Oringin of Language. Chicago : The University of Chicago Press.

Tan Zaixi tan 谭载喜(2004). 西方翻译简史 A Brief History of Western Translation. 北京：商务印书馆 Beijing: The Commercial Press.

Wang Zuoliang, He Qishen 王佐良、何其莘(1996). 英国文艺复兴时期文学史 A History of English Renaissance Literature. 北京：外语教学与研究出版社 Beijing: foreign Language Teaching and Research Press.

Wang Zuoliang, He Qishen 王佐良，何其莘(1994). 英国文艺复兴时期的文学史 A History of English Renaissance Literature 北京：外语教学与研究出版社 Beijing: foreign Language Teaching and Research Press.

Xie Tianzhen 谢天振(2014). 中西翻译简史 A Brief History of Chinese and Western Translation. 北京：外语教学与研究出版社 Beijing: foreign Language Teaching and Research Press.

Yao Xiaoping 姚小平(1998). 赫尔德论语言的起源译本 The Translation of Herder' s Treatise on the Origin of Language 北京：商务印书馆 Beijing: The Commercial Press.

Written by --[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 08:38, 9 December 2021 (UTC)

Hist Trans Theo EN 12

2021-12-13T11:48:37Z

Wei Zhaoyan: /* 3.2 John Denham: Fluent Poetry Translation */

'''History of Translation Theories'''

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=12 魏兆妍 The Humanistic Trend in Western Translation Theory from the 14th to the 19th Century=
[[Hist_Trans_Theo_EN_12]]

'''The Humanistic Trend in Western Translation Theory from the 14th to the 19th Century'''

Wei Zhaoyan 魏兆妍 Hunan Normal University, China

===Abstract===
From the 14th century, Europe began to enter into the Renaissance, and the Christian world view gradually degenerated with the emergence of individual centered humanism. People who submitted to God were regarded as rational and unique individuals, emphasizing their creative potential and giving full play to their talents. With the invention of printing in the 15th century, education and schools began to be open to the public. Reading translated works from different countries was no longer a noble enjoyment. Words and information were transmitted in all directions and more quickly through translation. Translation was called the forerunner of the Renaissance. It can be said that without translation, there would be no European Renaissance and humanistic thought( the European Renaissance and humanistic thoughts didn’t appear, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]])) In Europe, the writers, thinkers and scholars in this period were also translators who knew several languages, ( and we can see that, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]])) translation and creation were closely linked. This paper will focus on the humanistic trend in western translation theory from the 14th to the 19th century, and will also enumerate the representative figures and their translation ideas in this period.

===Key words===
Humanistic trend, Western translation theory, Poetics of translation, National and world visions

===1. Introduction===

From the 14th century, Europe began to enter into the Renaissance. Dante, the last poet in the middle ages, completed ''The Divine Comedy'' in 1321. In Dante's mind, all human life experience, including life and death, must be explained by Christian faith in order to show its meaning and significance. This Christian worldview gradually degenerated with the emergence of individualism-centered humanism. All beings who submitted to God were regarded as rational, unique and creative individuals. In the past years, translators were servants attached to God. Now they have shifted from God to focusing on the translator. Personal development has become the goal and value of life. Although humanist thinkers, writers and translators still maintain the Christian faith, they put more emphasis on personal creative potential and give full play to people's strengths. The focus of translation activities in this period also shifted from the classics of the Christian Church to the translation of more secular humanistic works.

With the invention of printing in the 15th century, education and schools began to be open to the public. Reading translated works from different countries was no longer a noble enjoyment. Through the wings of translation, words and information were transmitted in all directions and more quickly. For example, Marco Polo (1254-1324) told the story of his travels in China, which spread all over the European continent through printed words. The invention of printing not only brought about a cultural revolution, but also a sharp increase in the number of translations. Translation is known as the forerunner of the Renaissance. It can be said that without translation, there would be no European Renaissance and humanistic thought. Take the role of translation in English literature for example: "Translation played a great role in the British Renaissance: first, as a pioneer, it was countless translated works that first caused the mental climate of humanism. Second, translation was still active in the era of the restoration of the king's government, but attention has turned to French works. In the intervening years, that is, in the half century from 1558 to 1603 when Queen Elizabeth was in office, translation activities were more frequent, and famous translations also appeared the most frequently, which constituted a translation climax in the whole history of English literature. " In the Queen Elizabeth era, translation reached an unprecedented prosperity, and good translations of famous works continued to emerge. In the following 17th to 18th centuries, neoclassical literary translation surpassed the previous stage. Translation was particularly important to the development of modern English language, literature and culture. (Wang Zuoliang, He Qishen 1996: 72）

In Europe, the writers, thinkers and scholars in this period were translators who knew several languages, translation and creation were closely linked. A large number of scholars and poets have expressed their opinions on translation. From the 14th to the 16th century, the most representative was Dante's "untranslatability of literature" in Italy (1265-1321); Erasmus of the Netherlands (1466 - 1536) relied on the translator's language knowledge in the translation of ''The Bible''; The translation of German Luther (1482 - 1546) must adopt the language of the people; The translators in Dore’ s mind (1509-1546) in France must understand the original content, be proficient in two languages, avoid word for word translation, adopt popular form and pay attention to the "five translation principles" of beautiful style; Poetry translation in English Chapman' s(1559-1634) mind can not be stiff translation, and the poetry translation method of "rebuilding a new image" can be used.

From the 17th to the 19th century, the representative figures were as follows. Abranco of France: the translation method of “the beautiful unfaithful ones” which emphasized literariness and readability; Bartow (1731-1780) : accurate translation view of "the author is the master and the translator is the servant"; Dryden (1747-1841) of England: three translation principles of "literal translation, free translation and imitation translation"; Tytler (1747-1814): three translation principles of "the translation must completely reproduce the thought of the original work: the style and tone of the translation must be consistent with the characteristics of the original; the translation must be as smooth as the original." ; Humanistic thinker Herder (1744-1830) of German Romanticism: made a pioneering thinking on the language, nationality and the characteristics of relativism in translation. Goethe (1749-1832) of German: called the translator as "the prophet of the people"; Humboldt (1767-1835): expressed the views on translatability and untranslatability which had a great impact on the 20th century. The foreignization translation method of Schleiermacher (1768-1834) in the later stage has influenced the deconstructive translation theory of the 20th century. For the above representative figures and different translation views, this paper will focus on the humanistic trend and enumerate some of the representatives according to the development sequence of the history of western translation theory.

===2. The "Rebels" Who Change the Traditional Concept of Translation===
Since Jerome, the debate between literal and free translation has begun in the west. The dispute between them actually involves the question of whether translation should be equivalent to the original text, that is, faithfulness, which is also a thread running through western translation theory for more than 2000 years. Since the Renaissance, people have become more and more aware of their own subjectivity, but religious influence is everywhere all the time. As a translator, if he has any unconventional translation behavior, he may be persecuted by spirit and body, even lead to death. A history of western translation can be said to be written in the life and blood of translators to a certain extent.

Between 1536 and 1546, three translators died. Two of them were caused by translation work. They were French translation theorist Dolet, religious reformer and translator Martin Luther as well as British translator William Tyndale.
====2.1 Etiene Dolet: Five Principles of Translation====
In the history of western translation theory, the first humanist to systematically expound translation theory was Etiene Dolet(1509-1546). Dolet is a translator, printer and scholar. He is the first translator suffering from translation since the Renaissance. He is a learned, versatile and liberated translator. His interpretation of classics was regarded as walking between orthodoxy and paganism. The European Church has advocated for a long time that the translation of ''The Bible'' should be literal translation, especially the Roman Catholic Church supported the "correct" and conventional translation of ''The Bible'' . Any interpretation and translation that deviated from the classics may be regarded as heresy, criticized and prohibited, and some adventurous interpreters and translators suffered a horrible fate. In 1546, the Theological Seminary of Sorbonne University in France identified that Dolet added the phrase "whereas you will no longer be anything at all" without foundation in the translation of a paragraph about "existence after human death" in Plato's dialogue ''Axiochus'', then he was burned alive at the stake. This paragraph is as follows:

The original text in Greek: Hoti peri men tous zôntas ouk estin, hoi de apothanontes ouk eisin. hôste oute peri se nun estin, ou gar tethnêkas oute ei ti pathois, estai peri se su gar ouk esei.

The French translation by Dolet: Pour ce qu'il est certain que la mort n'est point aux vivants: et quant aux defuncs, ilz ne sont plus: donques la mort les atouches encore moins. Parquoy elle ne peult rien sur toy, car tu n'est pas encores prest à deceder; et quand tu seras décédé, elle n'y pourra rien aussi，attendu que tu ne seras plus ''rien du tou''. (The text in sixteenth century cited by Ballard and Copley Christie)

The translation in English:Since it is certain death is not at all among the living: and as for the dead, they no longer are: therefore, death touches them even less. And hence death can do nothing to you, for you are not yet ready to die, and when you have died, death will also not be able to do anything, since you will no longer be ''anything at all''.

This paragraph by Plato is an obvious atheist view. It is close to the meaning of "how can you know death when you don't know life" (''The Analects of Confucius''). The original Greek version is abstruse and difficult to understand, and there are omissions in many places. It can't be translated without adding cohesive devices. The three words added in italic French and English in the text only play a role in connecting and do not change the meaning of the original text. Dolet's addition was accused of "blasphemy", because such translation was accused of "denying the eternity of the soul", and it was precisely because he "made" this fatal translation "mistake" that he was burned at the age of 37. This accusation was a typical "unnecessary" accusation. As a translator, Dolet only translated the meaning of the original text and did not understand it improperly. The key was that Plato described Aristotle's conversation, Sorbonne's clergy could not blame Plato, so they had to blame Dolet for adding the three French words “rien du tout” (nothing at all) , because these three words could not be found in Greek or Latin, the church accused him of misunderstanding Plato's intention, blaspheming the gods and not believing in eternity. So, the risk of translation arises.

Because Dolet was persecuted by the clergy to death, his "five principles on translation" was cherished by the western translation field. Dolet's "five principles on translation" came from ''The Way of Translating Well from One Language into Another'' (1540) The excerpts of the original text are as follows:

To translate well from one language into another requires in the main five things:

(1)In the first place, the translator must understand perfectly the sense and matter of the author he is translating, although he should feel free to clarifty obscurities.

(2)The translator should have a perfect knowldgwe of boh SL and IL, so as not to lessen the majesty of the language.

(3) The translator should avoid word for word renderings.

(4)The translator should avoid Latinate and unusual forms.

(5)The translator should assemble and liaise words eloquently to avoid clumsiness.(Robinson, Douglas 1997: 95~96)

From the five translation principles put forward by Dolet, he advocated free translation, especially he didn't advocate rigid literal translation and paid attention to the beauty of the translation. Articles 1 and 2 can be regarded as the necessary conditions for translators. The latter three advocate that translators should use fresh language expressions, avoid using rare Greek or Latin words, but use natural and fluent forms in the target language in order to improve the social status and influence of French, Italian, German and Spanish after the disintegration of Latin. These five principles emphasized that the translator cannot follow the master like a slave, being obedient and using word for word translation method which show that the translator is poor in skills and lacks rich lexical expression. In Dolet's view, translation is the translation of meaning, not words. In order to express the author's intention, the translator has the right to adjust and reverse the sentence pattern of the translation.

====2.2 Martin Luther: the Tongue of the Common Man====

Martin Luther (1483-1546) is a German religious reformer and translator in the 16th century. As a translator of the German version of ''The Bible'', he is known as the father of German language and literature. His discussion on translation is mainly recorded in ''The Circular Letter''(1530).

For hundreds of years, people have been used to going to church to listen to ''The Bible'', because under the control of Catholicism, ordinary people have no right to read it by themselves. Luther's translation of the obscure Latin ''Bible'' into contemporary popular German is a great revolution, which is as valuable as his religious revolution. When he translated the language of God into contemporary German, he hoped that the German version of the book would be converted into different dialects, put in people's hands and enter into everyone's heart. Once ''The Bible'' translated by Luther was published, ordinary people directly heard the call of God. Luther believed that the German version he translated must be clear and easy to understand. Therefore, he systematically formulated the translation principles. This popular and fluent translation method aimed to be free from the influence of previous established translations, because free translation was also a weapon for Luther to resist the church. His main translation principles are:

(1) The purpose and the original text that the reader cannot understand should be translated freely.

(2) When translating, we should give priority to the meaning and subject content of the text, and don't stick to the grammar of the original text.

(3) Try to use a language that is easy to understand by ordinary people.

(4) Metaphors and idioms in rhetoric can be translated into non figurative language.

(5) Adhere to the reader centered orientation.

In the use of the target language, Luther did not sanctify the target language, but broke the symbol system of it. Sometimes in order to inject vitality, Luther used the people's oral language to break the coherence of the target language and pay attention to people's personal understanding and personality, which undoubtedly strengthened the social communication of the translation. However, the fluency of the translation was not at the expense of the accuracy. Luther's Bible was also very accurate in information transmission. Because the language used by Luther in translating the Bible was a vivid language loved by the people, his translation was welcomed by the people, and has been spread for a long time. Luther's basic translation principle was “You must ask the mother at home，the children in the street, the ordinary man in the market and look at their mouth, how they speak,and translate that way; then they'll understand and see that you’re speaking to them in German.“ So, easy to understand was the most fundamental purpose of Luther's translation. (Munday, Jeremy 2001: 38.)

====2.3 William Tyndale: A Men Who Has Dedicated His Life to Translation====

During the Renaissance, the Englishman who died for translation is William Tyndale (1494 - 1536). He is the most influential Bible translator in the English language. The three most famous Bibles ——''Geneva Bible'', ''The Douay-Rheims Bible'' and ''The King James' Bible'' in the 16th and 17th centuries are all influenced by the translation of ''Tyndale Bible'', especially ''The King James' Bible''.

Tyndale was born in Gloucestershire, England. He studied at Oxford University in his early years and taught at Cambridge University after graduation. Cambridge's humanistic thought shaped his religious thought. He believed that since religious teachings and practices come from ''The Bible'', it is necessary for British people to read it in their own mother tongue. Inspired by Martin Luther's experience in translating the German version of it, Tyndale was determined to translate an English Bible. At that time, the British Conservatives led by Moore insisted that the law stipulated that the unauthorized translation of ''The Bible'' was punishable by death. Because Tyndale was persecuted by the British church, he had to flee to Germany, where religion was relatively free, to work as a translator. As a humanist, Tyndale exposed the hypocrisy of European religion. The church accused him of "weaving love and vain history and fables to poison young people". In 1536, Tyndale was arrested and burned. All in all, Tyndale's translated works were concise and simple, using popular English words and expressions, which pioneered the generation of English translation of ''The Bible''.

What the enumerated translators have in common is that in order to spread knowledge and distinguish truth, they bravely explore the road that predecessors have not gone through, and can devote their whole life to the sacred cause of translation. At the same time, it can also be said that their translation experience and principles are written with blood and life.

===3. The Incarnation of Muse: Poetics of Translation===
Muse (Μουσαι in Greek, muses in Latin) is the general name of the goddess of science and art in ancient Greek mythology. It was born of the god Zeus and Mnemosyne, the goddess of memory. The number of Muses is uncertain, some people say there are three goddesses and others nine goddesses. Since the Renaissance, European poets, like stars, have lit the sky over Europe. These poets not only make poetry, but also translate classical poetry, seek inspiration from traditional literature and summarize poetry translation theory. This spectacle is unprecedented.

Western classical translation focuses on the works of ancient Greek and Roman poets Homer, Virgil and Ovid. These translations have greatly improved the form and content of European countries, especially British poetry art, and brought new creative techniques and skills. For example, the introduction of English poetry should first be attributed to the translation of sonnets. The original form of fourteen line lyric poem originated from Italy is abbaabba, cdecde (the last six lines can also be cdcdcd). This poetic style has been translated and introduced by Surrey, and then improved by Spencer and Shakespeare to become the English sonnet (abab eded efef gg).

Muse, the goddess of literature and art in the west, is fond of English poets. The translation works of Chapman, Dryden, Pope, Shelley and other poets fully reflect the principle of "translating poetry in the poetic way". Their poetry translation practice and theory have been perfectly combined to form a unique literary translation theory.
====3.1 George Chapman: Decorate the Translation with Beautiful Words====
George Chapman (1559-1634) is an English poet, dramatist and translator. Chapman is famous for translating Homer's ''Iliad'' and ''Odyssey''. His translation inspires the British poet John Keats more than a century later (1815), so he writes ''On First looking into Chapman's Homer'', which becomes a masterpiece through the ages.

He worshipped the warrior hero of the Agamemnon family in Greek mythology all his life, which can be seen in his works. This is one of the reasons why he chose to translate Homer's works. In 1611, he completed the translation of the ''Iliad'' in sonnets. In 1616, he finished translating the ''Odyssey'' in the poetic style of heroic antithesis. His translation has become one of the most popular works in the history of English literature and played a connecting role in the history of literature. For 200 years after its publication, its translation has been the standard English translation of Homer's works. Chapman's theory of translation criticism can be seen from his translation of the preface written in the ''Iliad'':

That those translators stick in, that affect

Their word-for word traditions( where they lost )

The free grace of their natural dialect,

And shame their authors with a forced gloss)

More license from the words than may express

Their full compression, and make clear the author;

From whose truth, if you think my feet digress,

Because I use needful paraphrases...

( Extract from The Preface to the Reader of the Translation of ''Iliad'')

From Chapman' s translation practice and theory, there are several principles worth summarizing: (1) adhere to translating poetry in poetic way. (2) oppose word for word translation and focus on free translation. (3) adopt the "interpretation" method, advocate that the translation should be decorated. (4) translator should try to show the author's intention. Chapman pays equal attention to translation practice and theory. On the one hand, he pays attention to summarizing translation experience, on the other hand, he has clear principles as translation guidance. At the same time, the deep study of Homer's works and the poetic flavor of poetry are also the reasons for his success. Now let's take a look at a passage in his translation of the ''Iliad'':

All grave old man, and soldiers they had been, but for age

Now left the wars; yet Counselors they were exceeding sage

And as in well grown woods, on trees, cold spinier grasshoppers

Sit chirping and send voices out that scarce can piece our ears

For softness and their weaker faint sounds; so( talking on the tower )

These Seniors of the people sat, who, when they saw the power

Of beauty in the Queen ascend, even those cold-spirited peers,

Those wise and almost withered men, found this heat in their years

That they were forced( though whispering )to say: what men can blame.

The Greeks and Trojans to endure, for so admired a Dame,

So many miseries, and so long? (''Iliad'', iii, 159-169)

Chapman’ s translation was concrete and vivid, with abundant emotion. His rhythm was infectious. However, the addition method of Chapman was often criticized. For example, Homer asked Hector to say, "For well I know this in my mind and in my heart, the day will be, when scaled Troy shall perish." Chapman' s poem is:

And such a stormy day shall come，in mind and soul I know，

When scared Troy shall shed her towers, for tears of overthrow. (Wang Zuoliang, He Qishen 1994: 85)

The translation is rhyming, antithetical and neat, but "mind and soul", "storm", "towers" and "teams" are added. Optimistically,the translator has rich imagination. Negatively, the translator's fantasy destroys faithfulness. In any case, Chapman' s translation style is magnificent and beautiful, reflecting the gorgeous rhetoric of the Renaissance translation and the translator's deep literary foundation. No wonder Keats felt like "seeing a new star surge into the horizon" . Homer's style is fresh, simple, clear, direct, vivid and powerful. Chapman strives to reproduce Homer's epic features in diction, sentence making and style. He has practiced poetry translation and summed up translation theory. This was rare in England from the 16th to 17th centuries: "the task of a competent and valuable translator is to abide by the sentences, rhetoric and language forms used by his original author, abide by his true meaning and depth, and then decorate them with rhetoric and language forms suitable for the language of the translation itself." (Wang Zuoliang, He Qishen 1994: 82)

Nevertheless, because Chapman translated Homer's epic in sonnets and tried to create something in phonology, the sonnets still did not conform to the style of Homer's epic, but they made some progress compared with Milton's translation with blank poems. Chapman also translated Ovid' s ''Feast of Sound and Color'' . His free translation method can fully reflect the deep meaning of the original work and was the best way to translate Homer's poetry. Chapman regarded the translation of Homer's epic as a major event in his life and believed that he was born to translate Homer's epic. His poetry translation theory filled the gap of translation theory in the late 16th century and has been inherited and developed by poetry translators from the 17th to 18th centuries.

====3.2 John Denham: Fluent Poetry Translation====

John Denham (1615 - 1669) is the most famous poet and translator in England in the mid-17th century. When he was young, he went to Oxford to study law, but he never worked as a attorney. He becomes famous because he translated the epic ''Aeneas'' written by Virgil, an ancient Greek tragedy. Later, his poetry also makes him famous in the literary world. (Nida, Eugene 1964: 145)

Denham' s translation theory is mainly reflected in his two articles on translation. One is ''To Sir Richard Fanshawe upon his translation of pastor Fido'' (1648), and the other is The preface of his translation of Aeneas, ''The Destruction of Troy'' (1656) He believes that art expresses nature in a harmonious and elegant way, so the translator should go beyond the constraints of form and create a novel translation. The translation of literary works is different from the translation of religious and disciplinary works, the former can be less faithful, and the translation of ''Aeneas'' adopts the method of translating poetry in the poetic way, pays attention to the legal effect of poetry, and has achieved good results.

Specifically, Denham' s translation theories include:

(1) Denham follows a "neoclassicism" path ". The translation method pursues a new translation method, that is, the translator should innovate, especially in the charm of poetry. Translation should give full play to the advantages of the target language. This process of using the target language to accultrate the original text is also the domestication translation method. This innovative translation method is deeply influenced by the free translation method advocated by France in the 17th century, that is, the translation should be beautiful. Although Denham pursues the elegance and beauty of his translation, his translation is basically faithful. His free translation mainly focuses on the artistic conception or "poetry for poetry", rather than the translated vocabulary.

(2) Denham believes that the translator and the author enjoy the same status. As a poet and translator, he believes that the translator has the right to extract the core part from the original text and recreate it in the target language. If there is a key word in Denham's translation theory, it is "fluency", as if the translation is not like the translation, but more like creation. In this way, the sentence pattern of the original text can be rewritten, the unclear meaning can be clarified, the smooth poetic rhythm and form can be used, the irregular structure can be avoided, and the pause can be used to strengthen the coherence of poetic sentence patterns. Denham' s fluent translation makes people feel that reading his translation is not reading the translation, but reading the original English work. Therefore, he is known as "Virgil" in Britain.

(3) The translator has his own choice and motivation. Denham chooses the free translation method and the translation of ''Aeneas'' has its own purpose: the relationship between the king and his descendants in the Trojan story will remind the reader of Britain at that time. He hopes to give cultural support to the English monarch through the translation of such a work. There is an imaginary connection between Troy's pedigree and the defeated Caroline government at that time. This kind of ideological manipulation and rewriting confirms his translation It serves the royalists. Therefore, his translation is very flexible and has more freedom than other translators.

====3.3 John Dryden: Three Principles of Translation====

John Dryden (1631 - 1700), an English poet, translator and dramatist, is the most influential critic in Britain in the 17th century. His literary criticism has influenced the following two centuries. As a translation theorist, his discourse on translation is considered to be the most systematic in western translation theory before the 17th century.

The three translation types (1680) divided by Dryden and the three translation principles (1797) of Tytler all advocated to talk about translation in civilian rather than pretentious academic language, which is why their translation theory is still used today. As the "the first translation theorist" so far, Dryden' s translation views were mainly reflected in the translation of the ''Preface to Ovid' s Epistles''. Dryden classified three types of translation as follows:

All translations,I suppose, may be reduced to these three heads.

(1)Fist( At first, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]])), that of metaphrase，or turning an author word by word, and line by line, from one language into another. Thus, or near this manner, was Horace his ''Art of Poetry'' translated by Ben Jonson.

(2)The second way is that of ( delate that of, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]))paraphrase, or translation with latitude, where the author is ( delate “is” , corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]))kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that too is (it is admitted to, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]))admitted to be amplified, but not altered. Such is Mr. Walter' s translation of Virgil's fourth ''Aeneid''.

(3)The third way is that of imitation, where the translator( if now he has not lost that name) assumes the liberty, not only to vary from the words and sense, but to forsake them both as he sees occasion; and taking some hints from the original, to run division on the groundwork, as he pleases. Such is Mr. Cowley' s practice in turning two Odes of Pindar, and one of Horace, into English.

Among the three translation methods, Dryden is most opposed to Ben Jonson' s word for word translation, that is, literal translation. It is considered that this translation method is like "tis much like dancing on ropes with fed legs", which mechanically imitates the original text, but can not be separated from the constraints of its grammar, sentence pattern and poetic rhythm, so that its semantics is obscure. As for the great freedom of imitation translation, the purpose of the translator is to imitate the previous works in subject content and literary form, neither translated words nor translated meaning. Therefore, literal translation and imitation translation are the two most extreme forms of translation, and translators should take warning. Free translation is the translation method advocated by Dryden. The so-called free translation means that the translator must have a limit of freedom. He should always see the author and not lose his way. From this point of view, Dryden insists that poetry translation must "translate poetry with poetry", that is, the person who translates poetry must be a poet, so that he can understand the charm of the original and better express it in the target language and aesthetic language.

The three classifications of Dryden' s translation have a great influence on the western translation theory in the 20th century. They are an indispensable part of western translation theory. His translation theory represents the peak of the development of English and criticism theory in the 17th century.

====3.4 Alexander Pope: Translation of Homer Epic====

Alexander Pope (1688-1744) is an important poet and translator in the Enlightenment period of the 18th century. His ''An Essay on Criticism'' (744 lines) is written in antithetical verses, expounds ( expounding, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]))the aesthetic principles of classical literature and art, and establishes Pope's position in the history of English literature. Pope became famous for translating Homer's epics and won a reward of 10000 pounds and a great reputation.

Pope's translation of Homer's epic is accused by translation critics of not rhyming and reading like an 18th century Englishman. In other words, Pope's translation of Homer's epic is not so much a reflection of Homer's style as Pope's own style. His translation is full of personal characteristics and idioms. But when discussing translation, Pope said that his translation is better than those full of translation cavity. His main translation views are recorded in the translation preface of the ''Iliad''. Pope's translation theory is very similar to Dryden' s: (1) he advocates free translation and maintains the beauty of poetry translation. (2) it is the sacred mission of the translator not to add or delete arbitrarily in translation. (3) the relationship between literal translation and free translation is dialectical. Literal translation can not reproduce the beautiful meaning of the original text, but it is wrong to make up for it by hasty free translation. (4) servile loyalty to the literal meaning will only damage the poetic style of the original text. (5) the plain and clear style of Homer's epic in modern language is not a lesson. Translation should reflect the main characteristics of the original: when talking about the beauty and defects of the original, we should talk about the translation, which is the embodiment of the main characteristics of it. As long as the main parts of the original poem show the contents such as fables, etiquette and emotion, no translator will save and compress them out of his own prejudice. The same is true for the translation of every image, description and simile. If we save too much translation, it will weaken the main characteristics of the original poem.

In Pope's view, the translator should not only grasp the characteristics of the original text, but also deal with the idioms and metaphors in Homer's epic, strive to reproduce the image of the original text, and can not be arbitrarily deleted due to personal prejudice. The beautiful and noble poetic features of the original text should also be reproduced in the translation. Pope is often criticized for some affectation and arbitrary play. The accusation of the former may be related to Pope's neoclassicism. Arbitrary play is a major feature of some humanist translators.

Generally speaking, Pope adopts the domestication translation method to explain, understand and translate the original work with the poetic concepts of the Enlightenment period, in order to maintain a smooth and natural poetic flavor in the target language. Compared with the other two translators of Homer's epics Chapman and R. lattinmore, Pope's translation is generally very neat and elegant, reproducing the style of neoclassicism. Chapman' s translation is beautiful, while the translation of R. lattinmore, a translator in the 20th century, is fresh and casual. In general, Pope's translation of Homer's epic is neat and reproduces Homer's poetic flavor, charm to a certain extent.

===4. The National and World Visions of Translation===

The 17th century to the 19th century is the climax of the development of modern western translation theory. A large number of writers and translators with world reputation have sprung up in Britain, France and Germany. Generally speaking, the free translation school originated in France in the 17th century and had a great influence on Britain. There were many innovations in translation theory in Britain from the 17th to the 18th century. The discussion at this stage mainly focused on the translation of classical poetry. In Germany, with the emergence of “Stum and Drang, Storm and Stress” and Romanticism in the 18th and 19th centuries, German Conservatism has showed up.

The 19th century, represented by the "Stum and Drang, Storm and Stress", is a period of great development of German Conservatism, represented by the "German Romanticism", which is also a stage of the transition of literary and artistic forms from classicism to Romanticism, which can also be said to be the romanticism in the naive period. The central representatives of this movement are the famous writers Goethe and Schiller. Goethe's ''The Troubles of Young Witt'' is the representative work of this period, expressing the conflict of human inner feelings and the spirit of striving. This movement lasted for nearly 30 years, from 1765 to 1795, and then was replaced by the mature romantic movement. A large number of linguists, writers and translation theorists such as Herder, Goethe, Humboldt, Schleiermacher, Holderlin and Schlegel came on stage one after another. They translated a considerable number of classical works of ancient Greece and Rome, also translated and introduced a large number of works of other European countries (such as the translation of Shakespeare's plays). German literature in this period has won a great reputation all over the world. Due to the participation of the above-mentioned literature, German translation activities and translation research have also reached an unprecedented zenith, which has laid a solid foundation for western translation theory in the 20th century.

====4.1 Language Shapes the National Identity: Johann Gottfried Herder and Wilhelm von Humboldt====

The humanistic thoughts sweeping the whole Europe, such as humanism, classicism, enlightenment, “Stum and Drang, Storm and Stress” and romanticism, make the relationship between European countries closer and closer. These movements provide important conditions and environment for the birth of translation theory. Herder and Humboldt demonstrated the relationship between language, translation and national identity from the perspective of language.

Johann Gottfried Herder (1744 - 1803) is a pioneer of the German rapid movement. As a forerunner of the enlightenment movement, Herder always focuses on how to use translation to transform German literature. In his opinion, the growth of German national literature is inseparable from translation. His views on translation are scattered on the origin of language, on the more recent German literature and other works. These views on language and translation have a great impact on language education and translation circles. From the perspective of language, he believes that speech is invented by man, and language represents rationality: "Without language, man has no reason and without reason no language." Herder's view of language nature opposes taking language as a simple tool and medium. He believes that language is a national organism, which can best reflect the national spirit and national soul (Volksgeist) , is the bond that forms the nation-state. Whoever loses his own language loses his identity and patriotism. Germans should be proud of their language and nation. Herder and Humboldt put forward that language determines thinking, which not only provides a basis for the self hypothesis theory two centuries later, but also gives a view of the uncertainty and untranslatability of translation buried the foreshadowing. (Rousseau, Jean Jacques and John Gottfried Herder 1986: 121)

Herder opposes the deification of language and insists on explaining the generation of language from the perspective of naturalism. He believes that rationality is the key to the origin of language. He tries to provide a natural rather than reductionist explanation for human characteristics and creativity, and seeks the origin of language in human natural characteristics. Herder's natural reductionism is not only used to explain the origin of language, but also the power of natural interpretation is extended to all fields of culture to reflect the characteristics of human creation, such as art, religion, law, etc. Through the power of natural interpretation, they are included in a scientific world outlook. This language turning point fundamental. Its significance is that people begin to pay real attention to the problems of language itself, such as the essence of language, the relationship between language and rationality, how language can be expressed, etc. Then Humboldt inherited and developed Herder's view. Language blindness is no longer just a vassal of rationality, a simple tool. From then on, he began to get out of the influence of theology and gradually formed an independent philosophy of language.

Herder's views had a great impact on Humboldt.

Wilhelm von Humboldt (1767-1835) is the most influential linguist, philosopher and educational reformer in the West.

Humboldt's main translation views are:

(1) Language determines thought and culture. A language is the reflection of real life. Language has unique national characteristics, and the languages of different nationalities reflect their cultural characteristics. Different languages reflect the world outlook of different nationalities. It emphasizes the reaction of language to thinking: language determines thought and mode of thinking, and different languages have different schemata to understand the world. Translation consists of different languages and forms different language schemata. Therefore, equivalence in translation is impossible.

(2) The more you know a language, the greater the distance between nations. This is because different nations have different world views and different language habits. From this point of view, because we are aware of the great differences between different languages, we believe that it is impossible to achieve complete equivalence. Therefore, mutual translation between languages is impossible.

(3) Translation should deeply understand the era, atmosphere and character of the original author, and strive to avoid the obscure side of the translation and ensure the readability of the translation.

(4) The phonological beauty of poetry and drama translation must be maintained. Meter pattern is the key to all beauty.

Humboldt' s contribution to translation theory is that he is aware of the tension and contradiction of translation. He does not recognize the existence of a universal conceptual system beyond language boundaries. Therefore, his view of translation was interpreted as the representative of untranslatability in the 20th century. Because there are two meanings of "ubersetzen" and "dolmesschen" in German translation, "understanding" always carries "pre-understanding", that is, with personal subjective vision or prejudice, it is impossible to completely reach a consensus between different individuals. "Dolmesschen" let us have the opportunity to enter the commonness of language, which enables translation to cross specific social and cultural factors, and it is possible to understand each other between languages, so there is a reason to seek equivalence in translation. This is Humboldt' s dualism of language and translation.

====4.2 The Soaring Literary Translation: Johann Wolfgang Goethe and Friedrich Holdern====

Johann Wolfgang Goethe (1749-1832) is the greatest poet, translator and outstanding representative of Romanticism in Germany.

To sum up, Goethe believes that translation can be divided into three types.

(1) Facing different types of readers, we need different types of translation. In poetry and truth, he said, "if you want to influence the masses, a simple translation is always the best. Critical translations vying with the original really are of use only for conversations the learned conduct among themselves."(Lefevere, Andrew 1992: 75)

(2) Adaptation or imitation translation. "The second stage is that the translator translates contentedly according to his own wishes. Even if the translator tries to integrate himself into foreign situations, I would rather call this stage imitation stage."(Lefevere, Andrew 1992: 75)

(3) Pay attention to rhythmic literal translation sentence by sentence. Homer's ''Odyssey'' and ''Iliad'' translated by German Translator J. h. Voss made him famous overnight. His translation has beautiful rhythm and intonation and accurate choice of words and sentences. Although the public could not accept the strict literal translation rhythm at first, it gradually recognized it later. Goethe emphasizes that public taste can be shaped through translation.

Among all these three types of translation, Goethe most appreciates the literal translation that pays attention to rhythm, because as a poet, he takes into account the poetic characteristics such as meter pattern and rhythm, which are the true qualities of the original author. Goethe mentioned two principles of Translation: first, foreign writers move closer to the target language, so that his works look the same as the target language writers; Second, readers cross the border to adapt to foreign customs and language characteristics.

Goethe's translation theory is based on his romantic aesthetics. He believes that literal translation can not only convey the information of the original text, but also express the beauty of the translation.

Friedrich Holderlin (1770-1843) is the greatest lyric poet in the German Romantic period.

Holderlin advocates that every language of human beings is derived from the same basic language form, that is, what Benjamin called "pure language". Not only translation, but also creation should return to this ancient source. In translation practice, translators should adhere to literal translation, reflecting the heterogeneity of the original text. In modern poetics and translation studies, Holderlin' s language ontology is mainly based on the view of looking for "words beyond speech". This literal translation brings, of course, lexical obscurity, and Holderlin believes that the more obscure the translation, the more enlightening the tension. This poetic dialectics undoubtedly has a mystical point of view. It is very interesting that in the 20th century, people talked most about the essence of translation. The main point of view related to the essence of translation comes from Holderlin, a "firm guardian of letters" of the literal translation school. He created endless topics for translation. To some extent, Holderlin is the prophet of contemporary translation theory.

===5. Conclusion===

To sum up, as an important stage in the development of Western culture, humanistic trend cannot show up without the practice of cultural translation. As a part of the social thought at that time, translation thought is related to the social and cultural context in that period. Like other social trends at that time, translation thoughts in the period of the Renaissance and the Religious Reformation have played an important role in the evolution of the history of western translation, both returning to the original period and moving towards the new era. Humanistic trend is a turning point in the history of western translation. In short, the emergence of humanistic trend on the historical stage indicates that translation practice and theory have broken away from the "dark" Middle Ages and makes a huge step forward".

===References===

Bassnett, Susan. (1980) Translation Studies. London and New York: Methuen.

Lefevere, Andrew. eds. (1992) Translation/History/Culture: A Source Book. London : Routledge.

Munday, Jeremy. (2001) Introducing Translation Studies : Theories and Applications. London/New York : Routledge.

Nida, Eugene. (1964) Toward A Science of Translating. Leiden: E. J. Brill.

Robinson, Douglas. (1997) Western Translation Theory : from Herodotus to Nietzsche. Manchester : St. Jerome Publishing.

Rousseau, Jean Jacques and John Gottfried Herder. (1986) On the Oringin of Language. Chicago : The University of Chicago Press.

Wang Zuoliang, He Qishen 王佐良、何其莘(1996). 英国文艺复兴时期文学史 A History of English Renaissance Literature. 北京：外语教学与研究出版社 Beijing: oreign Language Teaching and Research Press.

Wang Zuoliang, He Qishen 王佐良，何其莘(1994). 英国文艺复兴时期的文学史 A History of English Renaissance Literature 北京：外语教学与研究出版社 Beijing: oreign Language Teaching and Research Press.

Yao Xiaoping 姚小平(1998). 赫尔德论语言的起源译本 The Translation of Herder' s Treatise on the Origin of Language 北京：商务印书馆 Commercial Press.

Written by --[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 08:38, 9 December 2021 (UTC)

Hist Trans Theo EN 12

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=12 魏兆妍 The Humanistic Trend in Western Translation Theory from the 14th to the 19th Century=
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'''The Humanistic Trend in Western Translation Theory from the 14th to the 19th Century'''

Wei Zhaoyan 魏兆妍 Hunan Normal University, China

===Abstract===
From the 14th century, Europe began to enter into the Renaissance, and the Christian world view gradually degenerated with the emergence of individual centered humanism. People who submitted to God were regarded as rational and unique individuals, emphasizing their creative potential and giving full play to their talents. With the invention of printing in the 15th century, education and schools began to be open to the public. Reading translated works from different countries was no longer a noble enjoyment. Words and information were transmitted in all directions and more quickly through translation. Translation was called the forerunner of the Renaissance. It can be said that without translation, there would be no European Renaissance and humanistic thought( the European Renaissance and humanistic thoughts didn’t appear, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]])) In Europe, the writers, thinkers and scholars in this period were also translators who knew several languages, ( and we can see that, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]])) translation and creation were closely linked. This paper will focus on the humanistic trend in western translation theory from the 14th to the 19th century, and will also enumerate the representative figures and their translation ideas in this period.

===Key words===
Humanistic trend, Western translation theory, Poetics of translation, National and world visions

===1. Introduction===

From the 14th century, Europe began to enter into the Renaissance. Dante, the last poet in the middle ages, completed ''The Divine Comedy'' in 1321. In Dante's mind, all human life experience, including life and death, must be explained by Christian faith in order to show its meaning and significance. This Christian worldview gradually degenerated with the emergence of individualism-centered humanism. All beings who submitted to God were regarded as rational, unique and creative individuals. In the past years, translators were servants attached to God. Now they have shifted from God to focusing on the translator. Personal development has become the goal and value of life. Although humanist thinkers, writers and translators still maintain the Christian faith, they put more emphasis on personal creative potential and give full play to people's strengths. The focus of translation activities in this period also shifted from the classics of the Christian Church to the translation of more secular humanistic works.

With the invention of printing in the 15th century, education and schools began to be open to the public. Reading translated works from different countries was no longer a noble enjoyment. Through the wings of translation, words and information were transmitted in all directions and more quickly. For example, Marco Polo (1254-1324) told the story of his travels in China, which spread all over the European continent through printed words. The invention of printing not only brought about a cultural revolution, but also a sharp increase in the number of translations. Translation is known as the forerunner of the Renaissance. It can be said that without translation, there would be no European Renaissance and humanistic thought. Take the role of translation in English literature for example: "Translation played a great role in the British Renaissance: first, as a pioneer, it was countless translated works that first caused the mental climate of humanism. Second, translation was still active in the era of the restoration of the king's government, but attention has turned to French works. In the intervening years, that is, in the half century from 1558 to 1603 when Queen Elizabeth was in office, translation activities were more frequent, and famous translations also appeared the most frequently, which constituted a translation climax in the whole history of English literature. " In the Queen Elizabeth era, translation reached an unprecedented prosperity, and good translations of famous works continued to emerge. In the following 17th to 18th centuries, neoclassical literary translation surpassed the previous stage. Translation was particularly important to the development of modern English language, literature and culture. (Wang Zuoliang, He Qishen 1996: 72）

In Europe, the writers, thinkers and scholars in this period were translators who knew several languages, translation and creation were closely linked. A large number of scholars and poets have expressed their opinions on translation. From the 14th to the 16th century, the most representative was Dante's "untranslatability of literature" in Italy (1265-1321); Erasmus of the Netherlands (1466 - 1536) relied on the translator's language knowledge in the translation of ''The Bible''; The translation of German Luther (1482 - 1546) must adopt the language of the people; The translators in Dore’ s mind (1509-1546) in France must understand the original content, be proficient in two languages, avoid word for word translation, adopt popular form and pay attention to the "five translation principles" of beautiful style; Poetry translation in English Chapman' s(1559-1634) mind can not be stiff translation, and the poetry translation method of "rebuilding a new image" can be used.

From the 17th to the 19th century, the representative figures were as follows. Abranco of France: the translation method of “the beautiful unfaithful ones” which emphasized literariness and readability; Bartow (1731-1780) : accurate translation view of "the author is the master and the translator is the servant"; Dryden (1747-1841) of England: three translation principles of "literal translation, free translation and imitation translation"; Tytler (1747-1814): three translation principles of "the translation must completely reproduce the thought of the original work: the style and tone of the translation must be consistent with the characteristics of the original; the translation must be as smooth as the original." ; Humanistic thinker Herder (1744-1830) of German Romanticism: made a pioneering thinking on the language, nationality and the characteristics of relativism in translation. Goethe (1749-1832) of German: called the translator as "the prophet of the people"; Humboldt (1767-1835): expressed the views on translatability and untranslatability which had a great impact on the 20th century. The foreignization translation method of Schleiermacher (1768-1834) in the later stage has influenced the deconstructive translation theory of the 20th century. For the above representative figures and different translation views, this paper will focus on the humanistic trend and enumerate some of the representatives according to the development sequence of the history of western translation theory.

===2. The "Rebels" Who Change the Traditional Concept of Translation===
Since Jerome, the debate between literal and free translation has begun in the west. The dispute between them actually involves the question of whether translation should be equivalent to the original text, that is, faithfulness, which is also a thread running through western translation theory for more than 2000 years. Since the Renaissance, people have become more and more aware of their own subjectivity, but religious influence is everywhere all the time. As a translator, if he has any unconventional translation behavior, he may be persecuted by spirit and body, even lead to death. A history of western translation can be said to be written in the life and blood of translators to a certain extent.

Between 1536 and 1546, three translators died. Two of them were caused by translation work. They were French translation theorist Dolet, religious reformer and translator Martin Luther as well as British translator William Tyndale.
====2.1 Etiene Dolet: Five Principles of Translation====
In the history of western translation theory, the first humanist to systematically expound translation theory was Etiene Dolet(1509-1546). Dolet is a translator, printer and scholar. He is the first translator suffering from translation since the Renaissance. He is a learned, versatile and liberated translator. His interpretation of classics was regarded as walking between orthodoxy and paganism. The European Church has advocated for a long time that the translation of ''The Bible'' should be literal translation, especially the Roman Catholic Church supported the "correct" and conventional translation of ''The Bible'' . Any interpretation and translation that deviated from the classics may be regarded as heresy, criticized and prohibited, and some adventurous interpreters and translators suffered a horrible fate. In 1546, the Theological Seminary of Sorbonne University in France identified that Dolet added the phrase "whereas you will no longer be anything at all" without foundation in the translation of a paragraph about "existence after human death" in Plato's dialogue ''Axiochus'', then he was burned alive at the stake. This paragraph is as follows:

The original text in Greek: Hoti peri men tous zôntas ouk estin, hoi de apothanontes ouk eisin. hôste oute peri se nun estin, ou gar tethnêkas oute ei ti pathois, estai peri se su gar ouk esei.

The French translation by Dolet: Pour ce qu'il est certain que la mort n'est point aux vivants: et quant aux defuncs, ilz ne sont plus: donques la mort les atouches encore moins. Parquoy elle ne peult rien sur toy, car tu n'est pas encores prest à deceder; et quand tu seras décédé, elle n'y pourra rien aussi，attendu que tu ne seras plus ''rien du tou''. (The text in sixteenth century cited by Ballard and Copley Christie)

The translation in English:Since it is certain death is not at all among the living: and as for the dead, they no longer are: therefore, death touches them even less. And hence death can do nothing to you, for you are not yet ready to die, and when you have died, death will also not be able to do anything, since you will no longer be ''anything at all''.

This paragraph by Plato is an obvious atheist view. It is close to the meaning of "how can you know death when you don't know life" (''The Analects of Confucius''). The original Greek version is abstruse and difficult to understand, and there are omissions in many places. It can't be translated without adding cohesive devices. The three words added in italic French and English in the text only play a role in connecting and do not change the meaning of the original text. Dolet's addition was accused of "blasphemy", because such translation was accused of "denying the eternity of the soul", and it was precisely because he "made" this fatal translation "mistake" that he was burned at the age of 37. This accusation was a typical "unnecessary" accusation. As a translator, Dolet only translated the meaning of the original text and did not understand it improperly. The key was that Plato described Aristotle's conversation, Sorbonne's clergy could not blame Plato, so they had to blame Dolet for adding the three French words “rien du tout” (nothing at all) , because these three words could not be found in Greek or Latin, the church accused him of misunderstanding Plato's intention, blaspheming the gods and not believing in eternity. So, the risk of translation arises.

Because Dolet was persecuted by the clergy to death, his "five principles on translation" was cherished by the western translation field. Dolet's "five principles on translation" came from ''The Way of Translating Well from One Language into Another'' (1540) The excerpts of the original text are as follows:

To translate well from one language into another requires in the main five things:

(1)In the first place, the translator must understand perfectly the sense and matter of the author he is translating, although he should feel free to clarifty obscurities.

(2)The translator should have a perfect knowldgwe of boh SL and IL, so as not to lessen the majesty of the language.

(3) The translator should avoid word for word renderings.

(4)The translator should avoid Latinate and unusual forms.

(5)The translator should assemble and liaise words eloquently to avoid clumsiness.(Robinson, Douglas 1997: 95~96)

From the five translation principles put forward by Dolet, he advocated free translation, especially he didn't advocate rigid literal translation and paid attention to the beauty of the translation. Articles 1 and 2 can be regarded as the necessary conditions for translators. The latter three advocate that translators should use fresh language expressions, avoid using rare Greek or Latin words, but use natural and fluent forms in the target language in order to improve the social status and influence of French, Italian, German and Spanish after the disintegration of Latin. These five principles emphasized that the translator cannot follow the master like a slave, being obedient and using word for word translation method which show that the translator is poor in skills and lacks rich lexical expression. In Dolet's view, translation is the translation of meaning, not words. In order to express the author's intention, the translator has the right to adjust and reverse the sentence pattern of the translation.

====2.2 Martin Luther: the Tongue of the Common Man====

Martin Luther (1483-1546) is a German religious reformer and translator in the 16th century. As a translator of the German version of ''The Bible'', he is known as the father of German language and literature. His discussion on translation is mainly recorded in ''The Circular Letter''(1530).

For hundreds of years, people have been used to going to church to listen to ''The Bible'', because under the control of Catholicism, ordinary people have no right to read it by themselves. Luther's translation of the obscure Latin ''Bible'' into contemporary popular German is a great revolution, which is as valuable as his religious revolution. When he translated the language of God into contemporary German, he hoped that the German version of the book would be converted into different dialects, put in people's hands and enter into everyone's heart. Once ''The Bible'' translated by Luther was published, ordinary people directly heard the call of God. Luther believed that the German version he translated must be clear and easy to understand. Therefore, he systematically formulated the translation principles. This popular and fluent translation method aimed to be free from the influence of previous established translations, because free translation was also a weapon for Luther to resist the church. His main translation principles are:

(1) The purpose and the original text that the reader cannot understand should be translated freely.

(2) When translating, we should give priority to the meaning and subject content of the text, and don't stick to the grammar of the original text.

(3) Try to use a language that is easy to understand by ordinary people.

(4) Metaphors and idioms in rhetoric can be translated into non figurative language.

(5) Adhere to the reader centered orientation.

In the use of the target language, Luther did not sanctify the target language, but broke the symbol system of it. Sometimes in order to inject vitality, Luther used the people's oral language to break the coherence of the target language and pay attention to people's personal understanding and personality, which undoubtedly strengthened the social communication of the translation. However, the fluency of the translation was not at the expense of the accuracy. Luther's Bible was also very accurate in information transmission. Because the language used by Luther in translating the Bible was a vivid language loved by the people, his translation was welcomed by the people, and has been spread for a long time. Luther's basic translation principle was “You must ask the mother at home，the children in the street, the ordinary man in the market and look at their mouth, how they speak,and translate that way; then they'll understand and see that you’re speaking to them in German.“ So, easy to understand was the most fundamental purpose of Luther's translation. (Munday, Jeremy 2001: 38.)

====2.3 William Tyndale: A Men Who Has Dedicated His Life to Translation====

During the Renaissance, the Englishman who died for translation is William Tyndale (1494 - 1536). He is the most influential Bible translator in the English language. The three most famous Bibles ——''Geneva Bible'', ''The Douay-Rheims Bible'' and ''The King James' Bible'' in the 16th and 17th centuries are all influenced by the translation of ''Tyndale Bible'', especially ''The King James' Bible''.

Tyndale was born in Gloucestershire, England. He studied at Oxford University in his early years and taught at Cambridge University after graduation. Cambridge's humanistic thought shaped his religious thought. He believed that since religious teachings and practices come from ''The Bible'', it is necessary for British people to read it in their own mother tongue. Inspired by Martin Luther's experience in translating the German version of it, Tyndale was determined to translate an English Bible. At that time, the British Conservatives led by Moore insisted that the law stipulated that the unauthorized translation of ''The Bible'' was punishable by death. Because Tyndale was persecuted by the British church, he had to flee to Germany, where religion was relatively free, to work as a translator. As a humanist, Tyndale exposed the hypocrisy of European religion. The church accused him of "weaving love and vain history and fables to poison young people". In 1536, Tyndale was arrested and burned. All in all, Tyndale's translated works were concise and simple, using popular English words and expressions, which pioneered the generation of English translation of ''The Bible''.

What the enumerated translators have in common is that in order to spread knowledge and distinguish truth, they bravely explore the road that predecessors have not gone through, and can devote their whole life to the sacred cause of translation. At the same time, it can also be said that their translation experience and principles are written with blood and life.

===3. The Incarnation of Muse: Poetics of Translation===
Muse (Μουσαι in Greek, muses in Latin) is the general name of the goddess of science and art in ancient Greek mythology. It was born of the god Zeus and Mnemosyne, the goddess of memory. The number of Muses is uncertain, some people say there are three goddesses and others nine goddesses. Since the Renaissance, European poets, like stars, have lit the sky over Europe. These poets not only make poetry, but also translate classical poetry, seek inspiration from traditional literature and summarize poetry translation theory. This spectacle is unprecedented.

Western classical translation focuses on the works of ancient Greek and Roman poets Homer, Virgil and Ovid. These translations have greatly improved the form and content of European countries, especially British poetry art, and brought new creative techniques and skills. For example, the introduction of English poetry should first be attributed to the translation of sonnets. The original form of fourteen line lyric poem originated from Italy is abbaabba, cdecde (the last six lines can also be cdcdcd). This poetic style has been translated and introduced by Surrey, and then improved by Spencer and Shakespeare to become the English sonnet (abab eded efef gg).

Muse, the goddess of literature and art in the west, is fond of English poets. The translation works of Chapman, Dryden, Pope, Shelley and other poets fully reflect the principle of "translating poetry in the poetic way". Their poetry translation practice and theory have been perfectly combined to form a unique literary translation theory.
====3.1 George Chapman: Decorate the Translation with Beautiful Words====
George Chapman (1559-1634) is an English poet, dramatist and translator. Chapman is famous for translating Homer's ''Iliad'' and ''Odyssey''. His translation inspires the British poet John Keats more than a century later (1815), so he writes ''On First looking into Chapman's Homer'', which becomes a masterpiece through the ages.

He worshipped the warrior hero of the Agamemnon family in Greek mythology all his life, which can be seen in his works. This is one of the reasons why he chose to translate Homer's works. In 1611, he completed the translation of the ''Iliad'' in sonnets. In 1616, he finished translating the ''Odyssey'' in the poetic style of heroic antithesis. His translation has become one of the most popular works in the history of English literature and played a connecting role in the history of literature. For 200 years after its publication, its translation has been the standard English translation of Homer's works. Chapman's theory of translation criticism can be seen from his translation of the preface written in the ''Iliad'':

That those translators stick in, that affect

Their word-for word traditions( where they lost )

The free grace of their natural dialect,

And shame their authors with a forced gloss)

More license from the words than may express

Their full compression, and make clear the author;

From whose truth, if you think my feet digress,

Because I use needful paraphrases...

( Extract from The Preface to the Reader of the Translation of ''Iliad'')

From Chapman' s translation practice and theory, there are several principles worth summarizing: (1) adhere to translating poetry in poetic way. (2) oppose word for word translation and focus on free translation. (3) adopt the "interpretation" method, advocate that the translation should be decorated. (4) translator should try to show the author's intention. Chapman pays equal attention to translation practice and theory. On the one hand, he pays attention to summarizing translation experience, on the other hand, he has clear principles as translation guidance. At the same time, the deep study of Homer's works and the poetic flavor of poetry are also the reasons for his success. Now let's take a look at a passage in his translation of the ''Iliad'':

All grave old man, and soldiers they had been, but for age

Now left the wars; yet Counselors they were exceeding sage

And as in well grown woods, on trees, cold spinier grasshoppers

Sit chirping and send voices out that scarce can piece our ears

For softness and their weaker faint sounds; so( talking on the tower )

These Seniors of the people sat, who, when they saw the power

Of beauty in the Queen ascend, even those cold-spirited peers,

Those wise and almost withered men, found this heat in their years

That they were forced( though whispering )to say: what men can blame.

The Greeks and Trojans to endure, for so admired a Dame,

So many miseries, and so long? (''Iliad'', iii, 159-169)

Chapman’ s translation was concrete and vivid, with abundant emotion. His rhythm was infectious. However, the addition method of Chapman was often criticized. For example, Homer asked Hector to say, "For well I know this in my mind and in my heart, the day will be, when scaled Troy shall perish." Chapman' s poem is:

And such a stormy day shall come，in mind and soul I know，

When scared Troy shall shed her towers, for tears of overthrow. (Wang Zuoliang, He Qishen 1994: 85)

The translation is rhyming, antithetical and neat, but "mind and soul", "storm", "towers" and "teams" are added. Optimistically,the translator has rich imagination. Negatively, the translator's fantasy destroys faithfulness. In any case, Chapman' s translation style is magnificent and beautiful, reflecting the gorgeous rhetoric of the Renaissance translation and the translator's deep literary foundation. No wonder Keats felt like "seeing a new star surge into the horizon" . Homer's style is fresh, simple, clear, direct, vivid and powerful. Chapman strives to reproduce Homer's epic features in diction, sentence making and style. He has practiced poetry translation and summed up translation theory. This was rare in England from the 16th to 17th centuries: "the task of a competent and valuable translator is to abide by the sentences, rhetoric and language forms used by his original author, abide by his true meaning and depth, and then decorate them with rhetoric and language forms suitable for the language of the translation itself." (Wang Zuoliang, He Qishen 1994: 82)

Nevertheless, because Chapman translated Homer's epic in sonnets and tried to create something in phonology, the sonnets still did not conform to the style of Homer's epic, but they made some progress compared with Milton's translation with blank poems. Chapman also translated Ovid' s ''Feast of Sound and Color'' . His free translation method can fully reflect the deep meaning of the original work and was the best way to translate Homer's poetry. Chapman regarded the translation of Homer's epic as a major event in his life and believed that he was born to translate Homer's epic. His poetry translation theory filled the gap of translation theory in the late 16th century and has been inherited and developed by poetry translators from the 17th to 18th centuries.

====3.2 John Denham: Fluent Poetry Translation====

John Denham (1615 - 1669) is the most famous poet and translator in England in the mid-17th century. When he was young, he went to Oxford to study law, but he never worked as a attorney. He becomes famous because he translated the epic ''Aeneas'' written by Virgil, an ancient Greek tragedy. Later, his poetry also makes him famous in the literary world.

Denham' s translation theory is mainly reflected in his two articles on translation. One is ''To Sir Richard Fanshawe upon his translation of pastor Fido'' (1648), and the other is The preface of his translation of Aeneas, ''The Destruction of Troy'' (1656) He believes that art expresses nature in a harmonious and elegant way, so the translator should go beyond the constraints of form and create a novel translation. The translation of literary works is different from the translation of religious and disciplinary works, the former can be less faithful, and the translation of ''Aeneas'' adopts the method of translating poetry in the poetic way, pays attention to the legal effect of poetry, and has achieved good results.

Specifically, Denham' s translation theories include:

(1) Denham follows a "neoclassicism" path ". The translation method pursues a new translation method, that is, the translator should innovate, especially in the charm of poetry. Translation should give full play to the advantages of the target language. This process of using the target language to accultrate the original text is also the domestication translation method. This innovative translation method is deeply influenced by the free translation method advocated by France in the 17th century, that is, the translation should be beautiful. Although Denham pursues the elegance and beauty of his translation, his translation is basically faithful. His free translation mainly focuses on the artistic conception or "poetry for poetry", rather than the translated vocabulary.

(2) Denham believes that the translator and the author enjoy the same status. As a poet and translator, he believes that the translator has the right to extract the core part from the original text and recreate it in the target language. If there is a key word in Denham's translation theory, it is "fluency", as if the translation is not like the translation, but more like creation. In this way, the sentence pattern of the original text can be rewritten, the unclear meaning can be clarified, the smooth poetic rhythm and form can be used, the irregular structure can be avoided, and the pause can be used to strengthen the coherence of poetic sentence patterns. Denham' s fluent translation makes people feel that reading his translation is not reading the translation, but reading the original English work. Therefore, he is known as "Virgil" in Britain.

(3) The translator has his own choice and motivation. Denham chooses the free translation method and the translation of ''Aeneas'' has its own purpose: the relationship between the king and his descendants in the Trojan story will remind the reader of Britain at that time. He hopes to give cultural support to the English monarch through the translation of such a work. There is an imaginary connection between Troy's pedigree and the defeated Caroline government at that time. This kind of ideological manipulation and rewriting confirms his translation It serves the royalists. Therefore, his translation is very flexible and has more freedom than other translators.

====3.3 John Dryden: Three Principles of Translation====

John Dryden (1631 - 1700), an English poet, translator and dramatist, is the most influential critic in Britain in the 17th century. His literary criticism has influenced the following two centuries. As a translation theorist, his discourse on translation is considered to be the most systematic in western translation theory before the 17th century.

The three translation types (1680) divided by Dryden and the three translation principles (1797) of Tytler all advocated to talk about translation in civilian rather than pretentious academic language, which is why their translation theory is still used today. As the "the first translation theorist" so far, Dryden' s translation views were mainly reflected in the translation of the ''Preface to Ovid' s Epistles''. Dryden classified three types of translation as follows:

All translations,I suppose, may be reduced to these three heads.

(1)Fist( At first, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]])), that of metaphrase，or turning an author word by word, and line by line, from one language into another. Thus, or near this manner, was Horace his ''Art of Poetry'' translated by Ben Jonson.

(2)The second way is that of ( delate that of, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]))paraphrase, or translation with latitude, where the author is ( delate “is” , corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]))kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that too is (it is admitted to, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]))admitted to be amplified, but not altered. Such is Mr. Walter' s translation of Virgil's fourth ''Aeneid''.

(3)The third way is that of imitation, where the translator( if now he has not lost that name) assumes the liberty, not only to vary from the words and sense, but to forsake them both as he sees occasion; and taking some hints from the original, to run division on the groundwork, as he pleases. Such is Mr. Cowley' s practice in turning two Odes of Pindar, and one of Horace, into English.

Among the three translation methods, Dryden is most opposed to Ben Jonson' s word for word translation, that is, literal translation. It is considered that this translation method is like "tis much like dancing on ropes with fed legs", which mechanically imitates the original text, but can not be separated from the constraints of its grammar, sentence pattern and poetic rhythm, so that its semantics is obscure. As for the great freedom of imitation translation, the purpose of the translator is to imitate the previous works in subject content and literary form, neither translated words nor translated meaning. Therefore, literal translation and imitation translation are the two most extreme forms of translation, and translators should take warning. Free translation is the translation method advocated by Dryden. The so-called free translation means that the translator must have a limit of freedom. He should always see the author and not lose his way. From this point of view, Dryden insists that poetry translation must "translate poetry with poetry", that is, the person who translates poetry must be a poet, so that he can understand the charm of the original and better express it in the target language and aesthetic language.

The three classifications of Dryden' s translation have a great influence on the western translation theory in the 20th century. They are an indispensable part of western translation theory. His translation theory represents the peak of the development of English and criticism theory in the 17th century.

====3.4 Alexander Pope: Translation of Homer Epic====

Alexander Pope (1688-1744) is an important poet and translator in the Enlightenment period of the 18th century. His ''An Essay on Criticism'' (744 lines) is written in antithetical verses, expounds ( expounding, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]))the aesthetic principles of classical literature and art, and establishes Pope's position in the history of English literature. Pope became famous for translating Homer's epics and won a reward of 10000 pounds and a great reputation.

Pope's translation of Homer's epic is accused by translation critics of not rhyming and reading like an 18th century Englishman. In other words, Pope's translation of Homer's epic is not so much a reflection of Homer's style as Pope's own style. His translation is full of personal characteristics and idioms. But when discussing translation, Pope said that his translation is better than those full of translation cavity. His main translation views are recorded in the translation preface of the ''Iliad''. Pope's translation theory is very similar to Dryden' s: (1) he advocates free translation and maintains the beauty of poetry translation. (2) it is the sacred mission of the translator not to add or delete arbitrarily in translation. (3) the relationship between literal translation and free translation is dialectical. Literal translation can not reproduce the beautiful meaning of the original text, but it is wrong to make up for it by hasty free translation. (4) servile loyalty to the literal meaning will only damage the poetic style of the original text. (5) the plain and clear style of Homer's epic in modern language is not a lesson. Translation should reflect the main characteristics of the original: when talking about the beauty and defects of the original, we should talk about the translation, which is the embodiment of the main characteristics of it. As long as the main parts of the original poem show the contents such as fables, etiquette and emotion, no translator will save and compress them out of his own prejudice. The same is true for the translation of every image, description and simile. If we save too much translation, it will weaken the main characteristics of the original poem.

In Pope's view, the translator should not only grasp the characteristics of the original text, but also deal with the idioms and metaphors in Homer's epic, strive to reproduce the image of the original text, and can not be arbitrarily deleted due to personal prejudice. The beautiful and noble poetic features of the original text should also be reproduced in the translation. Pope is often criticized for some affectation and arbitrary play. The accusation of the former may be related to Pope's neoclassicism. Arbitrary play is a major feature of some humanist translators.

Generally speaking, Pope adopts the domestication translation method to explain, understand and translate the original work with the poetic concepts of the Enlightenment period, in order to maintain a smooth and natural poetic flavor in the target language. Compared with the other two translators of Homer's epics Chapman and R. lattinmore, Pope's translation is generally very neat and elegant, reproducing the style of neoclassicism. Chapman' s translation is beautiful, while the translation of R. lattinmore, a translator in the 20th century, is fresh and casual. In general, Pope's translation of Homer's epic is neat and reproduces Homer's poetic flavor, charm to a certain extent.

===4. The National and World Visions of Translation===

The 17th century to the 19th century is the climax of the development of modern western translation theory. A large number of writers and translators with world reputation have sprung up in Britain, France and Germany. Generally speaking, the free translation school originated in France in the 17th century and had a great influence on Britain. There were many innovations in translation theory in Britain from the 17th to the 18th century. The discussion at this stage mainly focused on the translation of classical poetry. In Germany, with the emergence of “Stum and Drang, Storm and Stress” and Romanticism in the 18th and 19th centuries, German Conservatism has showed up.

The 19th century, represented by the "Stum and Drang, Storm and Stress", is a period of great development of German Conservatism, represented by the "German Romanticism", which is also a stage of the transition of literary and artistic forms from classicism to Romanticism, which can also be said to be the romanticism in the naive period. The central representatives of this movement are the famous writers Goethe and Schiller. Goethe's ''The Troubles of Young Witt'' is the representative work of this period, expressing the conflict of human inner feelings and the spirit of striving. This movement lasted for nearly 30 years, from 1765 to 1795, and then was replaced by the mature romantic movement. A large number of linguists, writers and translation theorists such as Herder, Goethe, Humboldt, Schleiermacher, Holderlin and Schlegel came on stage one after another. They translated a considerable number of classical works of ancient Greece and Rome, also translated and introduced a large number of works of other European countries (such as the translation of Shakespeare's plays). German literature in this period has won a great reputation all over the world. Due to the participation of the above-mentioned literature, German translation activities and translation research have also reached an unprecedented zenith, which has laid a solid foundation for western translation theory in the 20th century.

====4.1 Language Shapes the National Identity: Johann Gottfried Herder and Wilhelm von Humboldt====

The humanistic thoughts sweeping the whole Europe, such as humanism, classicism, enlightenment, “Stum and Drang, Storm and Stress” and romanticism, make the relationship between European countries closer and closer. These movements provide important conditions and environment for the birth of translation theory. Herder and Humboldt demonstrated the relationship between language, translation and national identity from the perspective of language.

Johann Gottfried Herder (1744 - 1803) is a pioneer of the German rapid movement. As a forerunner of the enlightenment movement, Herder always focuses on how to use translation to transform German literature. In his opinion, the growth of German national literature is inseparable from translation. His views on translation are scattered on the origin of language, on the more recent German literature and other works. These views on language and translation have a great impact on language education and translation circles. From the perspective of language, he believes that speech is invented by man, and language represents rationality: "Without language, man has no reason and without reason no language." Herder's view of language nature opposes taking language as a simple tool and medium. He believes that language is a national organism, which can best reflect the national spirit and national soul (Volksgeist) , is the bond that forms the nation-state. Whoever loses his own language loses his identity and patriotism. Germans should be proud of their language and nation. Herder and Humboldt put forward that language determines thinking, which not only provides a basis for the self hypothesis theory two centuries later, but also gives a view of the uncertainty and untranslatability of translation buried the foreshadowing. (Rousseau, Jean Jacques and John Gottfried Herder 1986: 121)

Herder opposes the deification of language and insists on explaining the generation of language from the perspective of naturalism. He believes that rationality is the key to the origin of language. He tries to provide a natural rather than reductionist explanation for human characteristics and creativity, and seeks the origin of language in human natural characteristics. Herder's natural reductionism is not only used to explain the origin of language, but also the power of natural interpretation is extended to all fields of culture to reflect the characteristics of human creation, such as art, religion, law, etc. Through the power of natural interpretation, they are included in a scientific world outlook. This language turning point fundamental. Its significance is that people begin to pay real attention to the problems of language itself, such as the essence of language, the relationship between language and rationality, how language can be expressed, etc. Then Humboldt inherited and developed Herder's view. Language blindness is no longer just a vassal of rationality, a simple tool. From then on, he began to get out of the influence of theology and gradually formed an independent philosophy of language.

Herder's views had a great impact on Humboldt.

Wilhelm von Humboldt (1767-1835) is the most influential linguist, philosopher and educational reformer in the West.

Humboldt's main translation views are:

(1) Language determines thought and culture. A language is the reflection of real life. Language has unique national characteristics, and the languages of different nationalities reflect their cultural characteristics. Different languages reflect the world outlook of different nationalities. It emphasizes the reaction of language to thinking: language determines thought and mode of thinking, and different languages have different schemata to understand the world. Translation consists of different languages and forms different language schemata. Therefore, equivalence in translation is impossible.

(2) The more you know a language, the greater the distance between nations. This is because different nations have different world views and different language habits. From this point of view, because we are aware of the great differences between different languages, we believe that it is impossible to achieve complete equivalence. Therefore, mutual translation between languages is impossible.

(3) Translation should deeply understand the era, atmosphere and character of the original author, and strive to avoid the obscure side of the translation and ensure the readability of the translation.

(4) The phonological beauty of poetry and drama translation must be maintained. Meter pattern is the key to all beauty.

Humboldt' s contribution to translation theory is that he is aware of the tension and contradiction of translation. He does not recognize the existence of a universal conceptual system beyond language boundaries. Therefore, his view of translation was interpreted as the representative of untranslatability in the 20th century. Because there are two meanings of "ubersetzen" and "dolmesschen" in German translation, "understanding" always carries "pre-understanding", that is, with personal subjective vision or prejudice, it is impossible to completely reach a consensus between different individuals. "Dolmesschen" let us have the opportunity to enter the commonness of language, which enables translation to cross specific social and cultural factors, and it is possible to understand each other between languages, so there is a reason to seek equivalence in translation. This is Humboldt' s dualism of language and translation.

====4.2 The Soaring Literary Translation: Johann Wolfgang Goethe and Friedrich Holdern====

Johann Wolfgang Goethe (1749-1832) is the greatest poet, translator and outstanding representative of Romanticism in Germany.

To sum up, Goethe believes that translation can be divided into three types.

(1) Facing different types of readers, we need different types of translation. In poetry and truth, he said, "if you want to influence the masses, a simple translation is always the best. Critical translations vying with the original really are of use only for conversations the learned conduct among themselves."(Lefevere, Andrew 1992: 75)

(2) Adaptation or imitation translation. "The second stage is that the translator translates contentedly according to his own wishes. Even if the translator tries to integrate himself into foreign situations, I would rather call this stage imitation stage."(Lefevere, Andrew 1992: 75)

(3) Pay attention to rhythmic literal translation sentence by sentence. Homer's ''Odyssey'' and ''Iliad'' translated by German Translator J. h. Voss made him famous overnight. His translation has beautiful rhythm and intonation and accurate choice of words and sentences. Although the public could not accept the strict literal translation rhythm at first, it gradually recognized it later. Goethe emphasizes that public taste can be shaped through translation.

Among all these three types of translation, Goethe most appreciates the literal translation that pays attention to rhythm, because as a poet, he takes into account the poetic characteristics such as meter pattern and rhythm, which are the true qualities of the original author. Goethe mentioned two principles of Translation: first, foreign writers move closer to the target language, so that his works look the same as the target language writers; Second, readers cross the border to adapt to foreign customs and language characteristics.

Goethe's translation theory is based on his romantic aesthetics. He believes that literal translation can not only convey the information of the original text, but also express the beauty of the translation.

Friedrich Holderlin (1770-1843) is the greatest lyric poet in the German Romantic period.

Holderlin advocates that every language of human beings is derived from the same basic language form, that is, what Benjamin called "pure language". Not only translation, but also creation should return to this ancient source. In translation practice, translators should adhere to literal translation, reflecting the heterogeneity of the original text. In modern poetics and translation studies, Holderlin' s language ontology is mainly based on the view of looking for "words beyond speech". This literal translation brings, of course, lexical obscurity, and Holderlin believes that the more obscure the translation, the more enlightening the tension. This poetic dialectics undoubtedly has a mystical point of view. It is very interesting that in the 20th century, people talked most about the essence of translation. The main point of view related to the essence of translation comes from Holderlin, a "firm guardian of letters" of the literal translation school. He created endless topics for translation. To some extent, Holderlin is the prophet of contemporary translation theory.

===5. Conclusion===

To sum up, as an important stage in the development of Western culture, humanistic trend cannot show up without the practice of cultural translation. As a part of the social thought at that time, translation thought is related to the social and cultural context in that period. Like other social trends at that time, translation thoughts in the period of the Renaissance and the Religious Reformation have played an important role in the evolution of the history of western translation, both returning to the original period and moving towards the new era. Humanistic trend is a turning point in the history of western translation. In short, the emergence of humanistic trend on the historical stage indicates that translation practice and theory have broken away from the "dark" Middle Ages and makes a huge step forward".

===References===

Bassnett, Susan. (1980) Translation Studies. London and New York: Methuen.

Lefevere, Andrew. eds. (1992) Translation/History/Culture: A Source Book. London : Routledge.

Munday, Jeremy. (2001) Introducing Translation Studies : Theories and Applications. London/New York : Routledge.

Nida, Eugene. (1964) Toward A Science of Translating. Leiden: E. J. Brill.

Robinson, Douglas. (1997) Western Translation Theory : from Herodotus to Nietzsche. Manchester : St. Jerome Publishing.

Rousseau, Jean Jacques and John Gottfried Herder. (1986) On the Oringin of Language. Chicago : The University of Chicago Press.

Wang Zuoliang, He Qishen 王佐良、何其莘(1996). 英国文艺复兴时期文学史 A History of English Renaissance Literature. 北京：外语教学与研究出版社 Beijing: oreign Language Teaching and Research Press.

Wang Zuoliang, He Qishen 王佐良，何其莘(1994). 英国文艺复兴时期的文学史 A History of English Renaissance Literature 北京：外语教学与研究出版社 Beijing: oreign Language Teaching and Research Press.

Yao Xiaoping 姚小平(1998). 赫尔德论语言的起源译本 The Translation of Herder' s Treatise on the Origin of Language 北京：商务印书馆 Commercial Press.

Written by --[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 08:38, 9 December 2021 (UTC)

Hist Trans Theo EN 12

2021-12-13T11:35:34Z

Wei Zhaoyan: /* 3.1 George Chapman: Decorate the Translation with Beautiful Words */

'''History of Translation Theories'''

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=12 魏兆妍 The Humanistic Trend in Western Translation Theory from the 14th to the 19th Century=
[[Hist_Trans_Theo_EN_12]]

'''The Humanistic Trend in Western Translation Theory from the 14th to the 19th Century'''

Wei Zhaoyan 魏兆妍 Hunan Normal University, China

===Abstract===
From the 14th century, Europe began to enter into the Renaissance, and the Christian world view gradually degenerated with the emergence of individual centered humanism. People who submitted to God were regarded as rational and unique individuals, emphasizing their creative potential and giving full play to their talents. With the invention of printing in the 15th century, education and schools began to be open to the public. Reading translated works from different countries was no longer a noble enjoyment. Words and information were transmitted in all directions and more quickly through translation. Translation was called the forerunner of the Renaissance. It can be said that without translation, there would be no European Renaissance and humanistic thought( the European Renaissance and humanistic thoughts didn’t appear, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]])) In Europe, the writers, thinkers and scholars in this period were also translators who knew several languages, ( and we can see that, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]])) translation and creation were closely linked. This paper will focus on the humanistic trend in western translation theory from the 14th to the 19th century, and will also enumerate the representative figures and their translation ideas in this period.

===Key words===
Humanistic trend, Western translation theory, Poetics of translation, National and world visions

===1. Introduction===

From the 14th century, Europe began to enter into the Renaissance. Dante, the last poet in the middle ages, completed ''The Divine Comedy'' in 1321. In Dante's mind, all human life experience, including life and death, must be explained by Christian faith in order to show its meaning and significance. This Christian worldview gradually degenerated with the emergence of individualism-centered humanism. All beings who submitted to God were regarded as rational, unique and creative individuals. In the past years, translators were servants attached to God. Now they have shifted from God to focusing on the translator. Personal development has become the goal and value of life. Although humanist thinkers, writers and translators still maintain the Christian faith, they put more emphasis on personal creative potential and give full play to people's strengths. The focus of translation activities in this period also shifted from the classics of the Christian Church to the translation of more secular humanistic works.

With the invention of printing in the 15th century, education and schools began to be open to the public. Reading translated works from different countries was no longer a noble enjoyment. Through the wings of translation, words and information were transmitted in all directions and more quickly. For example, Marco Polo (1254-1324) told the story of his travels in China, which spread all over the European continent through printed words. The invention of printing not only brought about a cultural revolution, but also a sharp increase in the number of translations. Translation is known as the forerunner of the Renaissance. It can be said that without translation, there would be no European Renaissance and humanistic thought. Take the role of translation in English literature for example: "Translation played a great role in the British Renaissance: first, as a pioneer, it was countless translated works that first caused the mental climate of humanism. Second, translation was still active in the era of the restoration of the king's government, but attention has turned to French works. In the intervening years, that is, in the half century from 1558 to 1603 when Queen Elizabeth was in office, translation activities were more frequent, and famous translations also appeared the most frequently, which constituted a translation climax in the whole history of English literature. " In the Queen Elizabeth era, translation reached an unprecedented prosperity, and good translations of famous works continued to emerge. In the following 17th to 18th centuries, neoclassical literary translation surpassed the previous stage. Translation was particularly important to the development of modern English language, literature and culture. (Wang Zuoliang, He Qishen 1996: 72）

In Europe, the writers, thinkers and scholars in this period were translators who knew several languages, translation and creation were closely linked. A large number of scholars and poets have expressed their opinions on translation. From the 14th to the 16th century, the most representative was Dante's "untranslatability of literature" in Italy (1265-1321); Erasmus of the Netherlands (1466 - 1536) relied on the translator's language knowledge in the translation of ''The Bible''; The translation of German Luther (1482 - 1546) must adopt the language of the people; The translators in Dore’ s mind (1509-1546) in France must understand the original content, be proficient in two languages, avoid word for word translation, adopt popular form and pay attention to the "five translation principles" of beautiful style; Poetry translation in English Chapman' s(1559-1634) mind can not be stiff translation, and the poetry translation method of "rebuilding a new image" can be used.

From the 17th to the 19th century, the representative figures were as follows. Abranco of France: the translation method of “the beautiful unfaithful ones” which emphasized literariness and readability; Bartow (1731-1780) : accurate translation view of "the author is the master and the translator is the servant"; Dryden (1747-1841) of England: three translation principles of "literal translation, free translation and imitation translation"; Tytler (1747-1814): three translation principles of "the translation must completely reproduce the thought of the original work: the style and tone of the translation must be consistent with the characteristics of the original; the translation must be as smooth as the original." ; Humanistic thinker Herder (1744-1830) of German Romanticism: made a pioneering thinking on the language, nationality and the characteristics of relativism in translation. Goethe (1749-1832) of German: called the translator as "the prophet of the people"; Humboldt (1767-1835): expressed the views on translatability and untranslatability which had a great impact on the 20th century. The foreignization translation method of Schleiermacher (1768-1834) in the later stage has influenced the deconstructive translation theory of the 20th century. For the above representative figures and different translation views, this paper will focus on the humanistic trend and enumerate some of the representatives according to the development sequence of the history of western translation theory.

===2. The "Rebels" Who Change the Traditional Concept of Translation===
Since Jerome, the debate between literal and free translation has begun in the west. The dispute between them actually involves the question of whether translation should be equivalent to the original text, that is, faithfulness, which is also a thread running through western translation theory for more than 2000 years. Since the Renaissance, people have become more and more aware of their own subjectivity, but religious influence is everywhere all the time. As a translator, if he has any unconventional translation behavior, he may be persecuted by spirit and body, even lead to death. A history of western translation can be said to be written in the life and blood of translators to a certain extent.

Between 1536 and 1546, three translators died. Two of them were caused by translation work. They were French translation theorist Dolet, religious reformer and translator Martin Luther as well as British translator William Tyndale.
====2.1 Etiene Dolet: Five Principles of Translation====
In the history of western translation theory, the first humanist to systematically expound translation theory was Etiene Dolet(1509-1546). Dolet is a translator, printer and scholar. He is the first translator suffering from translation since the Renaissance. He is a learned, versatile and liberated translator. His interpretation of classics was regarded as walking between orthodoxy and paganism. The European Church has advocated for a long time that the translation of ''The Bible'' should be literal translation, especially the Roman Catholic Church supported the "correct" and conventional translation of ''The Bible'' . Any interpretation and translation that deviated from the classics may be regarded as heresy, criticized and prohibited, and some adventurous interpreters and translators suffered a horrible fate. In 1546, the Theological Seminary of Sorbonne University in France identified that Dolet added the phrase "whereas you will no longer be anything at all" without foundation in the translation of a paragraph about "existence after human death" in Plato's dialogue ''Axiochus'', then he was burned alive at the stake. This paragraph is as follows:

The original text in Greek: Hoti peri men tous zôntas ouk estin, hoi de apothanontes ouk eisin. hôste oute peri se nun estin, ou gar tethnêkas oute ei ti pathois, estai peri se su gar ouk esei.

The French translation by Dolet: Pour ce qu'il est certain que la mort n'est point aux vivants: et quant aux defuncs, ilz ne sont plus: donques la mort les atouches encore moins. Parquoy elle ne peult rien sur toy, car tu n'est pas encores prest à deceder; et quand tu seras décédé, elle n'y pourra rien aussi，attendu que tu ne seras plus ''rien du tou''. (The text in sixteenth century cited by Ballard and Copley Christie)

The translation in English:Since it is certain death is not at all among the living: and as for the dead, they no longer are: therefore, death touches them even less. And hence death can do nothing to you, for you are not yet ready to die, and when you have died, death will also not be able to do anything, since you will no longer be ''anything at all''.

This paragraph by Plato is an obvious atheist view. It is close to the meaning of "how can you know death when you don't know life" (''The Analects of Confucius''). The original Greek version is abstruse and difficult to understand, and there are omissions in many places. It can't be translated without adding cohesive devices. The three words added in italic French and English in the text only play a role in connecting and do not change the meaning of the original text. Dolet's addition was accused of "blasphemy", because such translation was accused of "denying the eternity of the soul", and it was precisely because he "made" this fatal translation "mistake" that he was burned at the age of 37. This accusation was a typical "unnecessary" accusation. As a translator, Dolet only translated the meaning of the original text and did not understand it improperly. The key was that Plato described Aristotle's conversation, Sorbonne's clergy could not blame Plato, so they had to blame Dolet for adding the three French words “rien du tout” (nothing at all) , because these three words could not be found in Greek or Latin, the church accused him of misunderstanding Plato's intention, blaspheming the gods and not believing in eternity. So, the risk of translation arises.

Because Dolet was persecuted by the clergy to death, his "five principles on translation" was cherished by the western translation field. Dolet's "five principles on translation" came from ''The Way of Translating Well from One Language into Another'' (1540) The excerpts of the original text are as follows:

To translate well from one language into another requires in the main five things:

(1)In the first place, the translator must understand perfectly the sense and matter of the author he is translating, although he should feel free to clarifty obscurities.

(2)The translator should have a perfect knowldgwe of boh SL and IL, so as not to lessen the majesty of the language.

(3) The translator should avoid word for word renderings.

(4)The translator should avoid Latinate and unusual forms.

(5)The translator should assemble and liaise words eloquently to avoid clumsiness.(Robinson, Douglas 1997: 95~96)

From the five translation principles put forward by Dolet, he advocated free translation, especially he didn't advocate rigid literal translation and paid attention to the beauty of the translation. Articles 1 and 2 can be regarded as the necessary conditions for translators. The latter three advocate that translators should use fresh language expressions, avoid using rare Greek or Latin words, but use natural and fluent forms in the target language in order to improve the social status and influence of French, Italian, German and Spanish after the disintegration of Latin. These five principles emphasized that the translator cannot follow the master like a slave, being obedient and using word for word translation method which show that the translator is poor in skills and lacks rich lexical expression. In Dolet's view, translation is the translation of meaning, not words. In order to express the author's intention, the translator has the right to adjust and reverse the sentence pattern of the translation.

====2.2 Martin Luther: the Tongue of the Common Man====

Martin Luther (1483-1546) is a German religious reformer and translator in the 16th century. As a translator of the German version of ''The Bible'', he is known as the father of German language and literature. His discussion on translation is mainly recorded in ''The Circular Letter''(1530).

For hundreds of years, people have been used to going to church to listen to ''The Bible'', because under the control of Catholicism, ordinary people have no right to read it by themselves. Luther's translation of the obscure Latin ''Bible'' into contemporary popular German is a great revolution, which is as valuable as his religious revolution. When he translated the language of God into contemporary German, he hoped that the German version of the book would be converted into different dialects, put in people's hands and enter into everyone's heart. Once ''The Bible'' translated by Luther was published, ordinary people directly heard the call of God. Luther believed that the German version he translated must be clear and easy to understand. Therefore, he systematically formulated the translation principles. This popular and fluent translation method aimed to be free from the influence of previous established translations, because free translation was also a weapon for Luther to resist the church. His main translation principles are:

(1) The purpose and the original text that the reader cannot understand should be translated freely.

(2) When translating, we should give priority to the meaning and subject content of the text, and don't stick to the grammar of the original text.

(3) Try to use a language that is easy to understand by ordinary people.

(4) Metaphors and idioms in rhetoric can be translated into non figurative language.

(5) Adhere to the reader centered orientation.

In the use of the target language, Luther did not sanctify the target language, but broke the symbol system of it. Sometimes in order to inject vitality, Luther used the people's oral language to break the coherence of the target language and pay attention to people's personal understanding and personality, which undoubtedly strengthened the social communication of the translation. However, the fluency of the translation was not at the expense of the accuracy. Luther's Bible was also very accurate in information transmission. Because the language used by Luther in translating the Bible was a vivid language loved by the people, his translation was welcomed by the people, and has been spread for a long time. Luther's basic translation principle was “You must ask the mother at home，the children in the street, the ordinary man in the market and look at their mouth, how they speak,and translate that way; then they'll understand and see that you’re speaking to them in German.“ So, easy to understand was the most fundamental purpose of Luther's translation. (Munday, Jeremy 2001: 38.)

====2.3 William Tyndale: A Men Who Has Dedicated His Life to Translation====

During the Renaissance, the Englishman who died for translation is William Tyndale (1494 - 1536). He is the most influential Bible translator in the English language. The three most famous Bibles ——''Geneva Bible'', ''The Douay-Rheims Bible'' and ''The King James' Bible'' in the 16th and 17th centuries are all influenced by the translation of ''Tyndale Bible'', especially ''The King James' Bible''.

Tyndale was born in Gloucestershire, England. He studied at Oxford University in his early years and taught at Cambridge University after graduation. Cambridge's humanistic thought shaped his religious thought. He believed that since religious teachings and practices come from ''The Bible'', it is necessary for British people to read it in their own mother tongue. Inspired by Martin Luther's experience in translating the German version of it, Tyndale was determined to translate an English Bible. At that time, the British Conservatives led by Moore insisted that the law stipulated that the unauthorized translation of ''The Bible'' was punishable by death. Because Tyndale was persecuted by the British church, he had to flee to Germany, where religion was relatively free, to work as a translator. As a humanist, Tyndale exposed the hypocrisy of European religion. The church accused him of "weaving love and vain history and fables to poison young people". In 1536, Tyndale was arrested and burned. All in all, Tyndale's translated works were concise and simple, using popular English words and expressions, which pioneered the generation of English translation of ''The Bible''.

What the enumerated translators have in common is that in order to spread knowledge and distinguish truth, they bravely explore the road that predecessors have not gone through, and can devote their whole life to the sacred cause of translation. At the same time, it can also be said that their translation experience and principles are written with blood and life.

===3. The Incarnation of Muse: Poetics of Translation===
Muse (Μουσαι in Greek, muses in Latin) is the general name of the goddess of science and art in ancient Greek mythology. It was born of the god Zeus and Mnemosyne, the goddess of memory. The number of Muses is uncertain, some people say there are three goddesses and others nine goddesses. Since the Renaissance, European poets, like stars, have lit the sky over Europe. These poets not only make poetry, but also translate classical poetry, seek inspiration from traditional literature and summarize poetry translation theory. This spectacle is unprecedented.

Western classical translation focuses on the works of ancient Greek and Roman poets Homer, Virgil and Ovid. These translations have greatly improved the form and content of European countries, especially British poetry art, and brought new creative techniques and skills. For example, the introduction of English poetry should first be attributed to the translation of sonnets. The original form of fourteen line lyric poem originated from Italy is abbaabba, cdecde (the last six lines can also be cdcdcd). This poetic style has been translated and introduced by Surrey, and then improved by Spencer and Shakespeare to become the English sonnet (abab eded efef gg).

Muse, the goddess of literature and art in the west, is fond of English poets. The translation works of Chapman, Dryden, Pope, Shelley and other poets fully reflect the principle of "translating poetry in the poetic way". Their poetry translation practice and theory have been perfectly combined to form a unique literary translation theory.
====3.1 George Chapman: Decorate the Translation with Beautiful Words====
George Chapman (1559-1634) is an English poet, dramatist and translator. Chapman is famous for translating Homer's ''Iliad'' and ''Odyssey''. His translation inspires the British poet John Keats more than a century later (1815), so he writes ''On First looking into Chapman's Homer'', which becomes a masterpiece through the ages.

He worshipped the warrior hero of the Agamemnon family in Greek mythology all his life, which can be seen in his works. This is one of the reasons why he chose to translate Homer's works. In 1611, he completed the translation of the ''Iliad'' in sonnets. In 1616, he finished translating the ''Odyssey'' in the poetic style of heroic antithesis. His translation has become one of the most popular works in the history of English literature and played a connecting role in the history of literature. For 200 years after its publication, its translation has been the standard English translation of Homer's works. Chapman's theory of translation criticism can be seen from his translation of the preface written in the ''Iliad'':

That those translators stick in, that affect

Their word-for word traditions( where they lost )

The free grace of their natural dialect,

And shame their authors with a forced gloss)

More license from the words than may express

Their full compression, and make clear the author;

From whose truth, if you think my feet digress,

Because I use needful paraphrases...

( Extract from The Preface to the Reader of the Translation of ''Iliad'')

From Chapman' s translation practice and theory, there are several principles worth summarizing: (1) adhere to translating poetry in poetic way. (2) oppose word for word translation and focus on free translation. (3) adopt the "interpretation" method, advocate that the translation should be decorated. (4) translator should try to show the author's intention. Chapman pays equal attention to translation practice and theory. On the one hand, he pays attention to summarizing translation experience, on the other hand, he has clear principles as translation guidance. At the same time, the deep study of Homer's works and the poetic flavor of poetry are also the reasons for his success. Now let's take a look at a passage in his translation of the ''Iliad'':

All grave old man, and soldiers they had been, but for age

Now left the wars; yet Counselors they were exceeding sage

And as in well grown woods, on trees, cold spinier grasshoppers

Sit chirping and send voices out that scarce can piece our ears

For softness and their weaker faint sounds; so( talking on the tower )

These Seniors of the people sat, who, when they saw the power

Of beauty in the Queen ascend, even those cold-spirited peers,

Those wise and almost withered men, found this heat in their years

That they were forced( though whispering )to say: what men can blame.

The Greeks and Trojans to endure, for so admired a Dame,

So many miseries, and so long? (''Iliad'', iii, 159-169)

Chapman’ s translation was concrete and vivid, with abundant emotion. His rhythm was infectious. However, the addition method of Chapman was often criticized. For example, Homer asked Hector to say, "For well I know this in my mind and in my heart, the day will be, when scaled Troy shall perish." Chapman' s poem is:

And such a stormy day shall come，in mind and soul I know，

When scared Troy shall shed her towers, for tears of overthrow. (Wang Zuoliang, He Qishen 1994: 85)

The translation is rhyming, antithetical and neat, but "mind and soul", "storm", "towers" and "teams" are added. Optimistically,the translator has rich imagination. Negatively, the translator's fantasy destroys faithfulness. In any case, Chapman' s translation style is magnificent and beautiful, reflecting the gorgeous rhetoric of the Renaissance translation and the translator's deep literary foundation. No wonder Keats felt like "seeing a new star surge into the horizon" . Homer's style is fresh, simple, clear, direct, vivid and powerful. Chapman strives to reproduce Homer's epic features in diction, sentence making and style. He has practiced poetry translation and summed up translation theory. This was rare in England from the 16th to 17th centuries: "the task of a competent and valuable translator is to abide by the sentences, rhetoric and language forms used by his original author, abide by his true meaning and depth, and then decorate them with rhetoric and language forms suitable for the language of the translation itself." (Wang Zuoliang, He Qishen 1994: 82)

Nevertheless, because Chapman translated Homer's epic in sonnets and tried to create something in phonology, the sonnets still did not conform to the style of Homer's epic, but they made some progress compared with Milton's translation with blank poems. Chapman also translated Ovid' s ''Feast of Sound and Color'' . His free translation method can fully reflect the deep meaning of the original work and was the best way to translate Homer's poetry. Chapman regarded the translation of Homer's epic as a major event in his life and believed that he was born to translate Homer's epic. His poetry translation theory filled the gap of translation theory in the late 16th century and has been inherited and developed by poetry translators from the 17th to 18th centuries.

====3.2 John Denham: Fluent Poetry Translation====

John Denham (1615 - 1669) is the most famous poet and translator in England in the mid-17th century. When he was young, he went to Oxford to study law, but he never worked as a attorney. He becomes famous because he translated the epic ''Aeneas'' written by Virgil, an ancient Greek tragedy. Later, his poetry also makes him famous in the literary world.

Denham' s translation theory is mainly reflected in his two articles on translation. One is ''To Sir Richard Fanshawe upon his translation of pastor Fido'' (1648), and the other is The preface of his translation of Aeneas, ''The Destruction of Troy'' (1656) He believes that art expresses nature in a harmonious and elegant way, so the translator should go beyond the constraints of form and create a novel translation. The translation of literary works is different from the translation of religious and disciplinary works, the former can be less faithful, and the translation of ''Aeneas'' adopts the method of translating poetry in the poetic way, pays attention to the legal effect of poetry, and has achieved good results.

Specifically, Denham' s translation theories include:

(1) Denham follows a "neoclassicism" path ". The translation method pursues a new translation method, that is, the translator should innovate, especially in the charm of poetry. Translation should give full play to the advantages of the target language. This process of using the target language to accultrate the original text is also the domestication translation method. This innovative translation method is deeply influenced by the free translation method advocated by France in the 17th century, that is, the translation should be beautiful. Although Denham pursues the elegance and beauty of his translation, his translation is basically faithful. His free translation mainly focuses on the artistic conception or "poetry for poetry", rather than the translated vocabulary.

(2) Denham believes that the translator and the author enjoy the same status. As a poet and translator, he believes that the translator has the right to extract the core part from the original text and recreate it in the target language. If there is a key word in Denham's translation theory, it is "fluency", as if the translation is not like the translation, but more like creation. In this way, the sentence pattern of the original text can be rewritten, the unclear meaning can be clarified, the smooth poetic rhythm and form can be used, the irregular structure can be avoided, and the pause can be used to strengthen the coherence of poetic sentence patterns. Denham' s fluent translation makes people feel that reading his translation is not reading the translation, but reading the original English work. Therefore, he is known as "Virgil" in Britain.

(3) The translator has his own choice and motivation. Denham chooses the free translation method and the translation of ''Aeneas'' has its own purpose: the relationship between the king and his descendants in the Trojan story will remind the reader of Britain at that time. He hopes to give cultural support to the English monarch through the translation of such a work. There is an imaginary connection between Troy's pedigree and the defeated Caroline government at that time. This kind of ideological manipulation and rewriting confirms his translation It serves the royalists. Therefore, his translation is very flexible and has more freedom than other translators.

====3.3 John Dryden: Three Principles of Translation====

John Dryden (1631 - 1700), an English poet, translator and dramatist, is the most influential critic in Britain in the 17th century. His literary criticism has influenced the following two centuries. As a translation theorist, his discourse on translation is considered to be the most systematic in western translation theory before the 17th century.

The three translation types (1680) divided by Dryden and the three translation principles (1797) of Tytler all advocated to talk about translation in civilian rather than pretentious academic language, which is why their translation theory is still used today. As the "the first translation theorist" so far, Dryden' s translation views were mainly reflected in the translation of the ''Preface to Ovid' s Epistles''. Dryden classified three types of translation as follows:

All translations,I suppose, may be reduced to these three heads.

(1)Fist( At first, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]])), that of metaphrase，or turning an author word by word, and line by line, from one language into another. Thus, or near this manner, was Horace his ''Art of Poetry'' translated by Ben Jonson.

(2)The second way is that of ( delate that of, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]))paraphrase, or translation with latitude, where the author is ( delate “is” , corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]))kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that too is (it is admitted to, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]))admitted to be amplified, but not altered. Such is Mr. Walter' s translation of Virgil's fourth ''Aeneid''.

(3)The third way is that of imitation, where the translator( if now he has not lost that name) assumes the liberty, not only to vary from the words and sense, but to forsake them both as he sees occasion; and taking some hints from the original, to run division on the groundwork, as he pleases. Such is Mr. Cowley' s practice in turning two Odes of Pindar, and one of Horace, into English.

Among the three translation methods, Dryden is most opposed to Ben Jonson' s word for word translation, that is, literal translation. It is considered that this translation method is like "tis much like dancing on ropes with fed legs", which mechanically imitates the original text, but can not be separated from the constraints of its grammar, sentence pattern and poetic rhythm, so that its semantics is obscure. As for the great freedom of imitation translation, the purpose of the translator is to imitate the previous works in subject content and literary form, neither translated words nor translated meaning. Therefore, literal translation and imitation translation are the two most extreme forms of translation, and translators should take warning. Free translation is the translation method advocated by Dryden. The so-called free translation means that the translator must have a limit of freedom. He should always see the author and not lose his way. From this point of view, Dryden insists that poetry translation must "translate poetry with poetry", that is, the person who translates poetry must be a poet, so that he can understand the charm of the original and better express it in the target language and aesthetic language.

The three classifications of Dryden' s translation have a great influence on the western translation theory in the 20th century. They are an indispensable part of western translation theory. His translation theory represents the peak of the development of English and criticism theory in the 17th century.

====3.4 Alexander Pope: Translation of Homer Epic====

Alexander Pope (1688-1744) is an important poet and translator in the Enlightenment period of the 18th century. His ''An Essay on Criticism'' (744 lines) is written in antithetical verses, expounds ( expounding, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]))the aesthetic principles of classical literature and art, and establishes Pope's position in the history of English literature. Pope became famous for translating Homer's epics and won a reward of 10000 pounds and a great reputation.

Pope's translation of Homer's epic is accused by translation critics of not rhyming and reading like an 18th century Englishman. In other words, Pope's translation of Homer's epic is not so much a reflection of Homer's style as Pope's own style. His translation is full of personal characteristics and idioms. But when discussing translation, Pope said that his translation is better than those full of translation cavity. His main translation views are recorded in the translation preface of the ''Iliad''. Pope's translation theory is very similar to Dryden' s: (1) he advocates free translation and maintains the beauty of poetry translation. (2) it is the sacred mission of the translator not to add or delete arbitrarily in translation. (3) the relationship between literal translation and free translation is dialectical. Literal translation can not reproduce the beautiful meaning of the original text, but it is wrong to make up for it by hasty free translation. (4) servile loyalty to the literal meaning will only damage the poetic style of the original text. (5) the plain and clear style of Homer's epic in modern language is not a lesson. Translation should reflect the main characteristics of the original: when talking about the beauty and defects of the original, we should talk about the translation, which is the embodiment of the main characteristics of it. As long as the main parts of the original poem show the contents such as fables, etiquette and emotion, no translator will save and compress them out of his own prejudice. The same is true for the translation of every image, description and simile. If we save too much translation, it will weaken the main characteristics of the original poem.

In Pope's view, the translator should not only grasp the characteristics of the original text, but also deal with the idioms and metaphors in Homer's epic, strive to reproduce the image of the original text, and can not be arbitrarily deleted due to personal prejudice. The beautiful and noble poetic features of the original text should also be reproduced in the translation. Pope is often criticized for some affectation and arbitrary play. The accusation of the former may be related to Pope's neoclassicism. Arbitrary play is a major feature of some humanist translators.

Generally speaking, Pope adopts the domestication translation method to explain, understand and translate the original work with the poetic concepts of the Enlightenment period, in order to maintain a smooth and natural poetic flavor in the target language. Compared with the other two translators of Homer's epics Chapman and R. lattinmore, Pope's translation is generally very neat and elegant, reproducing the style of neoclassicism. Chapman' s translation is beautiful, while the translation of R. lattinmore, a translator in the 20th century, is fresh and casual. In general, Pope's translation of Homer's epic is neat and reproduces Homer's poetic flavor, charm to a certain extent.

===4. The National and World Visions of Translation===

The 17th century to the 19th century is the climax of the development of modern western translation theory. A large number of writers and translators with world reputation have sprung up in Britain, France and Germany. Generally speaking, the free translation school originated in France in the 17th century and had a great influence on Britain. There were many innovations in translation theory in Britain from the 17th to the 18th century. The discussion at this stage mainly focused on the translation of classical poetry. In Germany, with the emergence of “Stum and Drang, Storm and Stress” and Romanticism in the 18th and 19th centuries, German Conservatism has showed up.

The 19th century, represented by the "Stum and Drang, Storm and Stress", is a period of great development of German Conservatism, represented by the "German Romanticism", which is also a stage of the transition of literary and artistic forms from classicism to Romanticism, which can also be said to be the romanticism in the naive period. The central representatives of this movement are the famous writers Goethe and Schiller. Goethe's ''The Troubles of Young Witt'' is the representative work of this period, expressing the conflict of human inner feelings and the spirit of striving. This movement lasted for nearly 30 years, from 1765 to 1795, and then was replaced by the mature romantic movement. A large number of linguists, writers and translation theorists such as Herder, Goethe, Humboldt, Schleiermacher, Holderlin and Schlegel came on stage one after another. They translated a considerable number of classical works of ancient Greece and Rome, also translated and introduced a large number of works of other European countries (such as the translation of Shakespeare's plays). German literature in this period has won a great reputation all over the world. Due to the participation of the above-mentioned literature, German translation activities and translation research have also reached an unprecedented zenith, which has laid a solid foundation for western translation theory in the 20th century.

====4.1 Language Shapes the National Identity: Johann Gottfried Herder and Wilhelm von Humboldt====

The humanistic thoughts sweeping the whole Europe, such as humanism, classicism, enlightenment, “Stum and Drang, Storm and Stress” and romanticism, make the relationship between European countries closer and closer. These movements provide important conditions and environment for the birth of translation theory. Herder and Humboldt demonstrated the relationship between language, translation and national identity from the perspective of language.

Johann Gottfried Herder (1744 - 1803) is a pioneer of the German rapid movement. As a forerunner of the enlightenment movement, Herder always focuses on how to use translation to transform German literature. In his opinion, the growth of German national literature is inseparable from translation. His views on translation are scattered on the origin of language, on the more recent German literature and other works. These views on language and translation have a great impact on language education and translation circles. From the perspective of language, he believes that speech is invented by man, and language represents rationality: "Without language, man has no reason and without reason no language." Herder's view of language nature opposes taking language as a simple tool and medium. He believes that language is a national organism, which can best reflect the national spirit and national soul (Volksgeist) , is the bond that forms the nation-state. Whoever loses his own language loses his identity and patriotism. Germans should be proud of their language and nation. Herder and Humboldt put forward that language determines thinking, which not only provides a basis for the self hypothesis theory two centuries later, but also gives a view of the uncertainty and untranslatability of translation buried the foreshadowing. (Rousseau, Jean Jacques and John Gottfried Herder 1986: 121)

Herder opposes the deification of language and insists on explaining the generation of language from the perspective of naturalism. He believes that rationality is the key to the origin of language. He tries to provide a natural rather than reductionist explanation for human characteristics and creativity, and seeks the origin of language in human natural characteristics. Herder's natural reductionism is not only used to explain the origin of language, but also the power of natural interpretation is extended to all fields of culture to reflect the characteristics of human creation, such as art, religion, law, etc. Through the power of natural interpretation, they are included in a scientific world outlook. This language turning point fundamental. Its significance is that people begin to pay real attention to the problems of language itself, such as the essence of language, the relationship between language and rationality, how language can be expressed, etc. Then Humboldt inherited and developed Herder's view. Language blindness is no longer just a vassal of rationality, a simple tool. From then on, he began to get out of the influence of theology and gradually formed an independent philosophy of language.

Herder's views had a great impact on Humboldt.

Wilhelm von Humboldt (1767-1835) is the most influential linguist, philosopher and educational reformer in the West.

Humboldt's main translation views are:

(1) Language determines thought and culture. A language is the reflection of real life. Language has unique national characteristics, and the languages of different nationalities reflect their cultural characteristics. Different languages reflect the world outlook of different nationalities. It emphasizes the reaction of language to thinking: language determines thought and mode of thinking, and different languages have different schemata to understand the world. Translation consists of different languages and forms different language schemata. Therefore, equivalence in translation is impossible.

(2) The more you know a language, the greater the distance between nations. This is because different nations have different world views and different language habits. From this point of view, because we are aware of the great differences between different languages, we believe that it is impossible to achieve complete equivalence. Therefore, mutual translation between languages is impossible.

(3) Translation should deeply understand the era, atmosphere and character of the original author, and strive to avoid the obscure side of the translation and ensure the readability of the translation.

(4) The phonological beauty of poetry and drama translation must be maintained. Meter pattern is the key to all beauty.

Humboldt' s contribution to translation theory is that he is aware of the tension and contradiction of translation. He does not recognize the existence of a universal conceptual system beyond language boundaries. Therefore, his view of translation was interpreted as the representative of untranslatability in the 20th century. Because there are two meanings of "ubersetzen" and "dolmesschen" in German translation, "understanding" always carries "pre-understanding", that is, with personal subjective vision or prejudice, it is impossible to completely reach a consensus between different individuals. "Dolmesschen" let us have the opportunity to enter the commonness of language, which enables translation to cross specific social and cultural factors, and it is possible to understand each other between languages, so there is a reason to seek equivalence in translation. This is Humboldt' s dualism of language and translation.

====4.2 The Soaring Literary Translation: Johann Wolfgang Goethe and Friedrich Holdern====

Johann Wolfgang Goethe (1749-1832) is the greatest poet, translator and outstanding representative of Romanticism in Germany.

To sum up, Goethe believes that translation can be divided into three types.

(1) Facing different types of readers, we need different types of translation. In poetry and truth, he said, "if you want to influence the masses, a simple translation is always the best. Critical translations vying with the original really are of use only for conversations the learned conduct among themselves."(Lefevere, Andrew 1992: 75)

(2) Adaptation or imitation translation. "The second stage is that the translator translates contentedly according to his own wishes. Even if the translator tries to integrate himself into foreign situations, I would rather call this stage imitation stage."(Lefevere, Andrew 1992: 75)

(3) Pay attention to rhythmic literal translation sentence by sentence. Homer's ''Odyssey'' and ''Iliad'' translated by German Translator J. h. Voss made him famous overnight. His translation has beautiful rhythm and intonation and accurate choice of words and sentences. Although the public could not accept the strict literal translation rhythm at first, it gradually recognized it later. Goethe emphasizes that public taste can be shaped through translation.

Among all these three types of translation, Goethe most appreciates the literal translation that pays attention to rhythm, because as a poet, he takes into account the poetic characteristics such as meter pattern and rhythm, which are the true qualities of the original author. Goethe mentioned two principles of Translation: first, foreign writers move closer to the target language, so that his works look the same as the target language writers; Second, readers cross the border to adapt to foreign customs and language characteristics.

Goethe's translation theory is based on his romantic aesthetics. He believes that literal translation can not only convey the information of the original text, but also express the beauty of the translation.

Friedrich Holderlin (1770-1843) is the greatest lyric poet in the German Romantic period.

Holderlin advocates that every language of human beings is derived from the same basic language form, that is, what Benjamin called "pure language". Not only translation, but also creation should return to this ancient source. In translation practice, translators should adhere to literal translation, reflecting the heterogeneity of the original text. In modern poetics and translation studies, Holderlin' s language ontology is mainly based on the view of looking for "words beyond speech". This literal translation brings, of course, lexical obscurity, and Holderlin believes that the more obscure the translation, the more enlightening the tension. This poetic dialectics undoubtedly has a mystical point of view. It is very interesting that in the 20th century, people talked most about the essence of translation. The main point of view related to the essence of translation comes from Holderlin, a "firm guardian of letters" of the literal translation school. He created endless topics for translation. To some extent, Holderlin is the prophet of contemporary translation theory.

===5. Conclusion===

To sum up, as an important stage in the development of Western culture, humanistic trend cannot show up without the practice of cultural translation. As a part of the social thought at that time, translation thought is related to the social and cultural context in that period. Like other social trends at that time, translation thoughts in the period of the Renaissance and the Religious Reformation have played an important role in the evolution of the history of western translation, both returning to the original period and moving towards the new era. Humanistic trend is a turning point in the history of western translation. In short, the emergence of humanistic trend on the historical stage indicates that translation practice and theory have broken away from the "dark" Middle Ages and makes a huge step forward".

===References===

Lefevere, Andrew. eds. (1992) Translation/History/Culture: A Source Book. London : Routledge.

Munday, Jeremy. (2001) Introducing Translation Studies : Theories and Applications. London/New York : Routledge.

Robinson, Douglas. (1997) Western Translation Theory : from Herodotus to Nietzsche. Manchester : St. Jerome Publishing.

Rousseau, Jean Jacques and John Gottfried Herder. (1986) On the Oringin of Language. Chicago : The University of Chicago Press.

Wang Zuoliang, He Qishen 王佐良、何其莘(1996). 英国文艺复兴时期文学史 A History of English Renaissance Literature. 北京：外语教学与研究出版社 Beijing: oreign Language Teaching and Research Press.

Wang Zuoliang, He Qishen 王佐良，何其莘(1994). 英国文艺复兴时期的文学史 A History of English Renaissance Literature 北京：外语教学与研究出版社 Beijing: oreign Language Teaching and Research Press.

Written by --[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 08:38, 9 December 2021 (UTC)

Hist Trans Theo EN 12

2021-12-13T11:32:18Z

Wei Zhaoyan: /* 3.1 George Chapman: Decorate the Translation with Beautiful Words */

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=12 魏兆妍 The Humanistic Trend in Western Translation Theory from the 14th to the 19th Century=
[[Hist_Trans_Theo_EN_12]]

'''The Humanistic Trend in Western Translation Theory from the 14th to the 19th Century'''

Wei Zhaoyan 魏兆妍 Hunan Normal University, China

===Abstract===
From the 14th century, Europe began to enter into the Renaissance, and the Christian world view gradually degenerated with the emergence of individual centered humanism. People who submitted to God were regarded as rational and unique individuals, emphasizing their creative potential and giving full play to their talents. With the invention of printing in the 15th century, education and schools began to be open to the public. Reading translated works from different countries was no longer a noble enjoyment. Words and information were transmitted in all directions and more quickly through translation. Translation was called the forerunner of the Renaissance. It can be said that without translation, there would be no European Renaissance and humanistic thought( the European Renaissance and humanistic thoughts didn’t appear, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]])) In Europe, the writers, thinkers and scholars in this period were also translators who knew several languages, ( and we can see that, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]])) translation and creation were closely linked. This paper will focus on the humanistic trend in western translation theory from the 14th to the 19th century, and will also enumerate the representative figures and their translation ideas in this period.

===Key words===
Humanistic trend, Western translation theory, Poetics of translation, National and world visions

===1. Introduction===

From the 14th century, Europe began to enter into the Renaissance. Dante, the last poet in the middle ages, completed ''The Divine Comedy'' in 1321. In Dante's mind, all human life experience, including life and death, must be explained by Christian faith in order to show its meaning and significance. This Christian worldview gradually degenerated with the emergence of individualism-centered humanism. All beings who submitted to God were regarded as rational, unique and creative individuals. In the past years, translators were servants attached to God. Now they have shifted from God to focusing on the translator. Personal development has become the goal and value of life. Although humanist thinkers, writers and translators still maintain the Christian faith, they put more emphasis on personal creative potential and give full play to people's strengths. The focus of translation activities in this period also shifted from the classics of the Christian Church to the translation of more secular humanistic works.

With the invention of printing in the 15th century, education and schools began to be open to the public. Reading translated works from different countries was no longer a noble enjoyment. Through the wings of translation, words and information were transmitted in all directions and more quickly. For example, Marco Polo (1254-1324) told the story of his travels in China, which spread all over the European continent through printed words. The invention of printing not only brought about a cultural revolution, but also a sharp increase in the number of translations. Translation is known as the forerunner of the Renaissance. It can be said that without translation, there would be no European Renaissance and humanistic thought. Take the role of translation in English literature for example: "Translation played a great role in the British Renaissance: first, as a pioneer, it was countless translated works that first caused the mental climate of humanism. Second, translation was still active in the era of the restoration of the king's government, but attention has turned to French works. In the intervening years, that is, in the half century from 1558 to 1603 when Queen Elizabeth was in office, translation activities were more frequent, and famous translations also appeared the most frequently, which constituted a translation climax in the whole history of English literature. " In the Queen Elizabeth era, translation reached an unprecedented prosperity, and good translations of famous works continued to emerge. In the following 17th to 18th centuries, neoclassical literary translation surpassed the previous stage. Translation was particularly important to the development of modern English language, literature and culture. (Wang Zuoliang, He Qishen 1996: 72）

In Europe, the writers, thinkers and scholars in this period were translators who knew several languages, translation and creation were closely linked. A large number of scholars and poets have expressed their opinions on translation. From the 14th to the 16th century, the most representative was Dante's "untranslatability of literature" in Italy (1265-1321); Erasmus of the Netherlands (1466 - 1536) relied on the translator's language knowledge in the translation of ''The Bible''; The translation of German Luther (1482 - 1546) must adopt the language of the people; The translators in Dore’ s mind (1509-1546) in France must understand the original content, be proficient in two languages, avoid word for word translation, adopt popular form and pay attention to the "five translation principles" of beautiful style; Poetry translation in English Chapman' s(1559-1634) mind can not be stiff translation, and the poetry translation method of "rebuilding a new image" can be used.

From the 17th to the 19th century, the representative figures were as follows. Abranco of France: the translation method of “the beautiful unfaithful ones” which emphasized literariness and readability; Bartow (1731-1780) : accurate translation view of "the author is the master and the translator is the servant"; Dryden (1747-1841) of England: three translation principles of "literal translation, free translation and imitation translation"; Tytler (1747-1814): three translation principles of "the translation must completely reproduce the thought of the original work: the style and tone of the translation must be consistent with the characteristics of the original; the translation must be as smooth as the original." ; Humanistic thinker Herder (1744-1830) of German Romanticism: made a pioneering thinking on the language, nationality and the characteristics of relativism in translation. Goethe (1749-1832) of German: called the translator as "the prophet of the people"; Humboldt (1767-1835): expressed the views on translatability and untranslatability which had a great impact on the 20th century. The foreignization translation method of Schleiermacher (1768-1834) in the later stage has influenced the deconstructive translation theory of the 20th century. For the above representative figures and different translation views, this paper will focus on the humanistic trend and enumerate some of the representatives according to the development sequence of the history of western translation theory.

===2. The "Rebels" Who Change the Traditional Concept of Translation===
Since Jerome, the debate between literal and free translation has begun in the west. The dispute between them actually involves the question of whether translation should be equivalent to the original text, that is, faithfulness, which is also a thread running through western translation theory for more than 2000 years. Since the Renaissance, people have become more and more aware of their own subjectivity, but religious influence is everywhere all the time. As a translator, if he has any unconventional translation behavior, he may be persecuted by spirit and body, even lead to death. A history of western translation can be said to be written in the life and blood of translators to a certain extent.

Between 1536 and 1546, three translators died. Two of them were caused by translation work. They were French translation theorist Dolet, religious reformer and translator Martin Luther as well as British translator William Tyndale.
====2.1 Etiene Dolet: Five Principles of Translation====
In the history of western translation theory, the first humanist to systematically expound translation theory was Etiene Dolet(1509-1546). Dolet is a translator, printer and scholar. He is the first translator suffering from translation since the Renaissance. He is a learned, versatile and liberated translator. His interpretation of classics was regarded as walking between orthodoxy and paganism. The European Church has advocated for a long time that the translation of ''The Bible'' should be literal translation, especially the Roman Catholic Church supported the "correct" and conventional translation of ''The Bible'' . Any interpretation and translation that deviated from the classics may be regarded as heresy, criticized and prohibited, and some adventurous interpreters and translators suffered a horrible fate. In 1546, the Theological Seminary of Sorbonne University in France identified that Dolet added the phrase "whereas you will no longer be anything at all" without foundation in the translation of a paragraph about "existence after human death" in Plato's dialogue ''Axiochus'', then he was burned alive at the stake. This paragraph is as follows:

The original text in Greek: Hoti peri men tous zôntas ouk estin, hoi de apothanontes ouk eisin. hôste oute peri se nun estin, ou gar tethnêkas oute ei ti pathois, estai peri se su gar ouk esei.

The French translation by Dolet: Pour ce qu'il est certain que la mort n'est point aux vivants: et quant aux defuncs, ilz ne sont plus: donques la mort les atouches encore moins. Parquoy elle ne peult rien sur toy, car tu n'est pas encores prest à deceder; et quand tu seras décédé, elle n'y pourra rien aussi，attendu que tu ne seras plus ''rien du tou''. (The text in sixteenth century cited by Ballard and Copley Christie)

The translation in English:Since it is certain death is not at all among the living: and as for the dead, they no longer are: therefore, death touches them even less. And hence death can do nothing to you, for you are not yet ready to die, and when you have died, death will also not be able to do anything, since you will no longer be ''anything at all''.

This paragraph by Plato is an obvious atheist view. It is close to the meaning of "how can you know death when you don't know life" (''The Analects of Confucius''). The original Greek version is abstruse and difficult to understand, and there are omissions in many places. It can't be translated without adding cohesive devices. The three words added in italic French and English in the text only play a role in connecting and do not change the meaning of the original text. Dolet's addition was accused of "blasphemy", because such translation was accused of "denying the eternity of the soul", and it was precisely because he "made" this fatal translation "mistake" that he was burned at the age of 37. This accusation was a typical "unnecessary" accusation. As a translator, Dolet only translated the meaning of the original text and did not understand it improperly. The key was that Plato described Aristotle's conversation, Sorbonne's clergy could not blame Plato, so they had to blame Dolet for adding the three French words “rien du tout” (nothing at all) , because these three words could not be found in Greek or Latin, the church accused him of misunderstanding Plato's intention, blaspheming the gods and not believing in eternity. So, the risk of translation arises.

Because Dolet was persecuted by the clergy to death, his "five principles on translation" was cherished by the western translation field. Dolet's "five principles on translation" came from ''The Way of Translating Well from One Language into Another'' (1540) The excerpts of the original text are as follows:

To translate well from one language into another requires in the main five things:

(1)In the first place, the translator must understand perfectly the sense and matter of the author he is translating, although he should feel free to clarifty obscurities.

(2)The translator should have a perfect knowldgwe of boh SL and IL, so as not to lessen the majesty of the language.

(3) The translator should avoid word for word renderings.

(4)The translator should avoid Latinate and unusual forms.

(5)The translator should assemble and liaise words eloquently to avoid clumsiness.(Robinson, Douglas 1997: 95~96)

From the five translation principles put forward by Dolet, he advocated free translation, especially he didn't advocate rigid literal translation and paid attention to the beauty of the translation. Articles 1 and 2 can be regarded as the necessary conditions for translators. The latter three advocate that translators should use fresh language expressions, avoid using rare Greek or Latin words, but use natural and fluent forms in the target language in order to improve the social status and influence of French, Italian, German and Spanish after the disintegration of Latin. These five principles emphasized that the translator cannot follow the master like a slave, being obedient and using word for word translation method which show that the translator is poor in skills and lacks rich lexical expression. In Dolet's view, translation is the translation of meaning, not words. In order to express the author's intention, the translator has the right to adjust and reverse the sentence pattern of the translation.

====2.2 Martin Luther: the Tongue of the Common Man====

Martin Luther (1483-1546) is a German religious reformer and translator in the 16th century. As a translator of the German version of ''The Bible'', he is known as the father of German language and literature. His discussion on translation is mainly recorded in ''The Circular Letter''(1530).

For hundreds of years, people have been used to going to church to listen to ''The Bible'', because under the control of Catholicism, ordinary people have no right to read it by themselves. Luther's translation of the obscure Latin ''Bible'' into contemporary popular German is a great revolution, which is as valuable as his religious revolution. When he translated the language of God into contemporary German, he hoped that the German version of the book would be converted into different dialects, put in people's hands and enter into everyone's heart. Once ''The Bible'' translated by Luther was published, ordinary people directly heard the call of God. Luther believed that the German version he translated must be clear and easy to understand. Therefore, he systematically formulated the translation principles. This popular and fluent translation method aimed to be free from the influence of previous established translations, because free translation was also a weapon for Luther to resist the church. His main translation principles are:

(1) The purpose and the original text that the reader cannot understand should be translated freely.

(2) When translating, we should give priority to the meaning and subject content of the text, and don't stick to the grammar of the original text.

(3) Try to use a language that is easy to understand by ordinary people.

(4) Metaphors and idioms in rhetoric can be translated into non figurative language.

(5) Adhere to the reader centered orientation.

In the use of the target language, Luther did not sanctify the target language, but broke the symbol system of it. Sometimes in order to inject vitality, Luther used the people's oral language to break the coherence of the target language and pay attention to people's personal understanding and personality, which undoubtedly strengthened the social communication of the translation. However, the fluency of the translation was not at the expense of the accuracy. Luther's Bible was also very accurate in information transmission. Because the language used by Luther in translating the Bible was a vivid language loved by the people, his translation was welcomed by the people, and has been spread for a long time. Luther's basic translation principle was “You must ask the mother at home，the children in the street, the ordinary man in the market and look at their mouth, how they speak,and translate that way; then they'll understand and see that you’re speaking to them in German.“ So, easy to understand was the most fundamental purpose of Luther's translation. (Munday, Jeremy 2001: 38.)

====2.3 William Tyndale: A Men Who Has Dedicated His Life to Translation====

During the Renaissance, the Englishman who died for translation is William Tyndale (1494 - 1536). He is the most influential Bible translator in the English language. The three most famous Bibles ——''Geneva Bible'', ''The Douay-Rheims Bible'' and ''The King James' Bible'' in the 16th and 17th centuries are all influenced by the translation of ''Tyndale Bible'', especially ''The King James' Bible''.

Tyndale was born in Gloucestershire, England. He studied at Oxford University in his early years and taught at Cambridge University after graduation. Cambridge's humanistic thought shaped his religious thought. He believed that since religious teachings and practices come from ''The Bible'', it is necessary for British people to read it in their own mother tongue. Inspired by Martin Luther's experience in translating the German version of it, Tyndale was determined to translate an English Bible. At that time, the British Conservatives led by Moore insisted that the law stipulated that the unauthorized translation of ''The Bible'' was punishable by death. Because Tyndale was persecuted by the British church, he had to flee to Germany, where religion was relatively free, to work as a translator. As a humanist, Tyndale exposed the hypocrisy of European religion. The church accused him of "weaving love and vain history and fables to poison young people". In 1536, Tyndale was arrested and burned. All in all, Tyndale's translated works were concise and simple, using popular English words and expressions, which pioneered the generation of English translation of ''The Bible''.

What the enumerated translators have in common is that in order to spread knowledge and distinguish truth, they bravely explore the road that predecessors have not gone through, and can devote their whole life to the sacred cause of translation. At the same time, it can also be said that their translation experience and principles are written with blood and life.

===3. The Incarnation of Muse: Poetics of Translation===
Muse (Μουσαι in Greek, muses in Latin) is the general name of the goddess of science and art in ancient Greek mythology. It was born of the god Zeus and Mnemosyne, the goddess of memory. The number of Muses is uncertain, some people say there are three goddesses and others nine goddesses. Since the Renaissance, European poets, like stars, have lit the sky over Europe. These poets not only make poetry, but also translate classical poetry, seek inspiration from traditional literature and summarize poetry translation theory. This spectacle is unprecedented.

Western classical translation focuses on the works of ancient Greek and Roman poets Homer, Virgil and Ovid. These translations have greatly improved the form and content of European countries, especially British poetry art, and brought new creative techniques and skills. For example, the introduction of English poetry should first be attributed to the translation of sonnets. The original form of fourteen line lyric poem originated from Italy is abbaabba, cdecde (the last six lines can also be cdcdcd). This poetic style has been translated and introduced by Surrey, and then improved by Spencer and Shakespeare to become the English sonnet (abab eded efef gg).

Muse, the goddess of literature and art in the west, is fond of English poets. The translation works of Chapman, Dryden, Pope, Shelley and other poets fully reflect the principle of "translating poetry in the poetic way". Their poetry translation practice and theory have been perfectly combined to form a unique literary translation theory.
====3.1 George Chapman: Decorate the Translation with Beautiful Words====
George Chapman (1559-1634) is an English poet, dramatist and translator. Chapman is famous for translating Homer's ''Iliad'' and ''Odyssey''. His translation inspires the British poet John Keats more than a century later (1815), so he writes ''On First looking into Chapman's Homer'', which becomes a masterpiece through the ages.

He worshipped the warrior hero of the Agamemnon family in Greek mythology all his life, which can be seen in his works. This is one of the reasons why he chose to translate Homer's works. In 1611, he completed the translation of the ''Iliad'' in sonnets. In 1616, he finished translating the ''Odyssey'' in the poetic style of heroic antithesis. His translation has become one of the most popular works in the history of English literature and played a connecting role in the history of literature. For 200 years after its publication, its translation has been the standard English translation of Homer's works. Chapman's theory of translation criticism can be seen from his translation of the preface written in the ''Iliad'':

That those translators stick in, that affect

Their word-for word traditions( where they lost )

The free grace of their natural dialect,

And shame their authors with a forced gloss)

More license from the words than may express

Their full compression, and make clear the author;

From whose truth, if you think my feet digress,

Because I use needful paraphrases...

( Extract from The Preface to the Reader of the Translation of ''Iliad'')

From Chapman' s translation practice and theory, there are several principles worth summarizing: (1) adhere to translating poetry in poetic way. (2) oppose word for word translation and focus on free translation. (3) adopt the "interpretation" method, advocate that the translation should be decorated. (4) translator should try to show the author's intention. Chapman pays equal attention to translation practice and theory. On the one hand, he pays attention to summarizing translation experience, on the other hand, he has clear principles as translation guidance. At the same time, the deep study of Homer's works and the poetic flavor of poetry are also the reasons for his success. Now let's take a look at a passage in his translation of the ''Iliad'':

All grave old man, and soldiers they had been, but for age

Now left the wars; yet Counselors they were exceeding sage

And as in well grown woods, on trees, cold spinier grasshoppers

Sit chirping and send voices out that scarce can piece our ears

For softness and their weaker faint sounds; so( talking on the tower )

These Seniors of the people sat, who, when they saw the power

Of beauty in the Queen ascend, even those cold-spirited peers,

Those wise and almost withered men, found this heat in their years

That they were forced( though whispering )to say: what men can blame.

The Greeks and Trojans to endure, for so admired a Dame,

So many miseries, and so long? (''Iliad'', iii, 159-169)

Chapman’ s translation was concrete and vivid, with abundant emotion. His rhythm was infectious. However, the addition method of Chapman was often criticized. For example, Homer asked Hector to say, "For well I know this in my mind and in my heart, the day will be, when scaled Troy shall perish." Chapman' s poem is: (Wang Zuoliang, He Qishen 1994: 85)

And such a stormy day shall come，in mind and soul I know，

When scared Troy shall shed her towers, for tears of overthrow.

The translation is rhyming, antithetical and neat, but "mind and soul", "storm", "towers" and "teams" are added. Optimistically,the translator has rich imagination. Negatively, the translator's fantasy destroys faithfulness. In any case, Chapman' s translation style is magnificent and beautiful, reflecting the gorgeous rhetoric of the Renaissance translation and the translator's deep literary foundation. No wonder Keats felt like "seeing a new star surge into the horizon" . Homer's style is fresh, simple, clear, direct, vivid and powerful. Chapman strives to reproduce Homer's epic features in diction, sentence making and style. He has practiced poetry translation and summed up translation theory. This was rare in England from the 16th to 17th centuries: "the task of a competent and valuable translator is to abide by the sentences, rhetoric and language forms used by his original author, abide by his true meaning and depth, and then decorate them with rhetoric and language forms suitable for the language of the translation itself." (Wang Zuoliang, He Qishen 1994: 82)

Nevertheless, because Chapman translated Homer's epic in sonnets and tried to create something in phonology, the sonnets still did not conform to the style of Homer's epic, but they made some progress compared with Milton's translation with blank poems. Chapman also translated Ovid' s ''Feast of Sound and Color'' . His free translation method can fully reflect the deep meaning of the original work and was the best way to translate Homer's poetry. Chapman regarded the translation of Homer's epic as a major event in his life and believed that he was born to translate Homer's epic. His poetry translation theory filled the gap of translation theory in the late 16th century and has been inherited and developed by poetry translators from the 17th to 18th centuries.

====3.2 John Denham: Fluent Poetry Translation====

John Denham (1615 - 1669) is the most famous poet and translator in England in the mid-17th century. When he was young, he went to Oxford to study law, but he never worked as a attorney. He becomes famous because he translated the epic ''Aeneas'' written by Virgil, an ancient Greek tragedy. Later, his poetry also makes him famous in the literary world.

Denham' s translation theory is mainly reflected in his two articles on translation. One is ''To Sir Richard Fanshawe upon his translation of pastor Fido'' (1648), and the other is The preface of his translation of Aeneas, ''The Destruction of Troy'' (1656) He believes that art expresses nature in a harmonious and elegant way, so the translator should go beyond the constraints of form and create a novel translation. The translation of literary works is different from the translation of religious and disciplinary works, the former can be less faithful, and the translation of ''Aeneas'' adopts the method of translating poetry in the poetic way, pays attention to the legal effect of poetry, and has achieved good results.

Specifically, Denham' s translation theories include:

(1) Denham follows a "neoclassicism" path ". The translation method pursues a new translation method, that is, the translator should innovate, especially in the charm of poetry. Translation should give full play to the advantages of the target language. This process of using the target language to accultrate the original text is also the domestication translation method. This innovative translation method is deeply influenced by the free translation method advocated by France in the 17th century, that is, the translation should be beautiful. Although Denham pursues the elegance and beauty of his translation, his translation is basically faithful. His free translation mainly focuses on the artistic conception or "poetry for poetry", rather than the translated vocabulary.

(2) Denham believes that the translator and the author enjoy the same status. As a poet and translator, he believes that the translator has the right to extract the core part from the original text and recreate it in the target language. If there is a key word in Denham's translation theory, it is "fluency", as if the translation is not like the translation, but more like creation. In this way, the sentence pattern of the original text can be rewritten, the unclear meaning can be clarified, the smooth poetic rhythm and form can be used, the irregular structure can be avoided, and the pause can be used to strengthen the coherence of poetic sentence patterns. Denham' s fluent translation makes people feel that reading his translation is not reading the translation, but reading the original English work. Therefore, he is known as "Virgil" in Britain.

(3) The translator has his own choice and motivation. Denham chooses the free translation method and the translation of ''Aeneas'' has its own purpose: the relationship between the king and his descendants in the Trojan story will remind the reader of Britain at that time. He hopes to give cultural support to the English monarch through the translation of such a work. There is an imaginary connection between Troy's pedigree and the defeated Caroline government at that time. This kind of ideological manipulation and rewriting confirms his translation It serves the royalists. Therefore, his translation is very flexible and has more freedom than other translators.

====3.3 John Dryden: Three Principles of Translation====

John Dryden (1631 - 1700), an English poet, translator and dramatist, is the most influential critic in Britain in the 17th century. His literary criticism has influenced the following two centuries. As a translation theorist, his discourse on translation is considered to be the most systematic in western translation theory before the 17th century.

The three translation types (1680) divided by Dryden and the three translation principles (1797) of Tytler all advocated to talk about translation in civilian rather than pretentious academic language, which is why their translation theory is still used today. As the "the first translation theorist" so far, Dryden' s translation views were mainly reflected in the translation of the ''Preface to Ovid' s Epistles''. Dryden classified three types of translation as follows:

All translations,I suppose, may be reduced to these three heads.

(1)Fist( At first, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]])), that of metaphrase，or turning an author word by word, and line by line, from one language into another. Thus, or near this manner, was Horace his ''Art of Poetry'' translated by Ben Jonson.

(2)The second way is that of ( delate that of, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]))paraphrase, or translation with latitude, where the author is ( delate “is” , corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]))kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that too is (it is admitted to, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]))admitted to be amplified, but not altered. Such is Mr. Walter' s translation of Virgil's fourth ''Aeneid''.

(3)The third way is that of imitation, where the translator( if now he has not lost that name) assumes the liberty, not only to vary from the words and sense, but to forsake them both as he sees occasion; and taking some hints from the original, to run division on the groundwork, as he pleases. Such is Mr. Cowley' s practice in turning two Odes of Pindar, and one of Horace, into English.

Among the three translation methods, Dryden is most opposed to Ben Jonson' s word for word translation, that is, literal translation. It is considered that this translation method is like "tis much like dancing on ropes with fed legs", which mechanically imitates the original text, but can not be separated from the constraints of its grammar, sentence pattern and poetic rhythm, so that its semantics is obscure. As for the great freedom of imitation translation, the purpose of the translator is to imitate the previous works in subject content and literary form, neither translated words nor translated meaning. Therefore, literal translation and imitation translation are the two most extreme forms of translation, and translators should take warning. Free translation is the translation method advocated by Dryden. The so-called free translation means that the translator must have a limit of freedom. He should always see the author and not lose his way. From this point of view, Dryden insists that poetry translation must "translate poetry with poetry", that is, the person who translates poetry must be a poet, so that he can understand the charm of the original and better express it in the target language and aesthetic language.

The three classifications of Dryden' s translation have a great influence on the western translation theory in the 20th century. They are an indispensable part of western translation theory. His translation theory represents the peak of the development of English and criticism theory in the 17th century.

====3.4 Alexander Pope: Translation of Homer Epic====

Alexander Pope (1688-1744) is an important poet and translator in the Enlightenment period of the 18th century. His ''An Essay on Criticism'' (744 lines) is written in antithetical verses, expounds ( expounding, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]))the aesthetic principles of classical literature and art, and establishes Pope's position in the history of English literature. Pope became famous for translating Homer's epics and won a reward of 10000 pounds and a great reputation.

Pope's translation of Homer's epic is accused by translation critics of not rhyming and reading like an 18th century Englishman. In other words, Pope's translation of Homer's epic is not so much a reflection of Homer's style as Pope's own style. His translation is full of personal characteristics and idioms. But when discussing translation, Pope said that his translation is better than those full of translation cavity. His main translation views are recorded in the translation preface of the ''Iliad''. Pope's translation theory is very similar to Dryden' s: (1) he advocates free translation and maintains the beauty of poetry translation. (2) it is the sacred mission of the translator not to add or delete arbitrarily in translation. (3) the relationship between literal translation and free translation is dialectical. Literal translation can not reproduce the beautiful meaning of the original text, but it is wrong to make up for it by hasty free translation. (4) servile loyalty to the literal meaning will only damage the poetic style of the original text. (5) the plain and clear style of Homer's epic in modern language is not a lesson. Translation should reflect the main characteristics of the original: when talking about the beauty and defects of the original, we should talk about the translation, which is the embodiment of the main characteristics of it. As long as the main parts of the original poem show the contents such as fables, etiquette and emotion, no translator will save and compress them out of his own prejudice. The same is true for the translation of every image, description and simile. If we save too much translation, it will weaken the main characteristics of the original poem.

In Pope's view, the translator should not only grasp the characteristics of the original text, but also deal with the idioms and metaphors in Homer's epic, strive to reproduce the image of the original text, and can not be arbitrarily deleted due to personal prejudice. The beautiful and noble poetic features of the original text should also be reproduced in the translation. Pope is often criticized for some affectation and arbitrary play. The accusation of the former may be related to Pope's neoclassicism. Arbitrary play is a major feature of some humanist translators.

Generally speaking, Pope adopts the domestication translation method to explain, understand and translate the original work with the poetic concepts of the Enlightenment period, in order to maintain a smooth and natural poetic flavor in the target language. Compared with the other two translators of Homer's epics Chapman and R. lattinmore, Pope's translation is generally very neat and elegant, reproducing the style of neoclassicism. Chapman' s translation is beautiful, while the translation of R. lattinmore, a translator in the 20th century, is fresh and casual. In general, Pope's translation of Homer's epic is neat and reproduces Homer's poetic flavor, charm to a certain extent.

===4. The National and World Visions of Translation===

The 17th century to the 19th century is the climax of the development of modern western translation theory. A large number of writers and translators with world reputation have sprung up in Britain, France and Germany. Generally speaking, the free translation school originated in France in the 17th century and had a great influence on Britain. There were many innovations in translation theory in Britain from the 17th to the 18th century. The discussion at this stage mainly focused on the translation of classical poetry. In Germany, with the emergence of “Stum and Drang, Storm and Stress” and Romanticism in the 18th and 19th centuries, German Conservatism has showed up.

The 19th century, represented by the "Stum and Drang, Storm and Stress", is a period of great development of German Conservatism, represented by the "German Romanticism", which is also a stage of the transition of literary and artistic forms from classicism to Romanticism, which can also be said to be the romanticism in the naive period. The central representatives of this movement are the famous writers Goethe and Schiller. Goethe's ''The Troubles of Young Witt'' is the representative work of this period, expressing the conflict of human inner feelings and the spirit of striving. This movement lasted for nearly 30 years, from 1765 to 1795, and then was replaced by the mature romantic movement. A large number of linguists, writers and translation theorists such as Herder, Goethe, Humboldt, Schleiermacher, Holderlin and Schlegel came on stage one after another. They translated a considerable number of classical works of ancient Greece and Rome, also translated and introduced a large number of works of other European countries (such as the translation of Shakespeare's plays). German literature in this period has won a great reputation all over the world. Due to the participation of the above-mentioned literature, German translation activities and translation research have also reached an unprecedented zenith, which has laid a solid foundation for western translation theory in the 20th century.

====4.1 Language Shapes the National Identity: Johann Gottfried Herder and Wilhelm von Humboldt====

The humanistic thoughts sweeping the whole Europe, such as humanism, classicism, enlightenment, “Stum and Drang, Storm and Stress” and romanticism, make the relationship between European countries closer and closer. These movements provide important conditions and environment for the birth of translation theory. Herder and Humboldt demonstrated the relationship between language, translation and national identity from the perspective of language.

Johann Gottfried Herder (1744 - 1803) is a pioneer of the German rapid movement. As a forerunner of the enlightenment movement, Herder always focuses on how to use translation to transform German literature. In his opinion, the growth of German national literature is inseparable from translation. His views on translation are scattered on the origin of language, on the more recent German literature and other works. These views on language and translation have a great impact on language education and translation circles. From the perspective of language, he believes that speech is invented by man, and language represents rationality: "Without language, man has no reason and without reason no language." Herder's view of language nature opposes taking language as a simple tool and medium. He believes that language is a national organism, which can best reflect the national spirit and national soul (Volksgeist) , is the bond that forms the nation-state. Whoever loses his own language loses his identity and patriotism. Germans should be proud of their language and nation. Herder and Humboldt put forward that language determines thinking, which not only provides a basis for the self hypothesis theory two centuries later, but also gives a view of the uncertainty and untranslatability of translation buried the foreshadowing. (Rousseau, Jean Jacques and John Gottfried Herder 1986: 121)

Herder opposes the deification of language and insists on explaining the generation of language from the perspective of naturalism. He believes that rationality is the key to the origin of language. He tries to provide a natural rather than reductionist explanation for human characteristics and creativity, and seeks the origin of language in human natural characteristics. Herder's natural reductionism is not only used to explain the origin of language, but also the power of natural interpretation is extended to all fields of culture to reflect the characteristics of human creation, such as art, religion, law, etc. Through the power of natural interpretation, they are included in a scientific world outlook. This language turning point fundamental. Its significance is that people begin to pay real attention to the problems of language itself, such as the essence of language, the relationship between language and rationality, how language can be expressed, etc. Then Humboldt inherited and developed Herder's view. Language blindness is no longer just a vassal of rationality, a simple tool. From then on, he began to get out of the influence of theology and gradually formed an independent philosophy of language.

Herder's views had a great impact on Humboldt.

Wilhelm von Humboldt (1767-1835) is the most influential linguist, philosopher and educational reformer in the West.

Humboldt's main translation views are:

(1) Language determines thought and culture. A language is the reflection of real life. Language has unique national characteristics, and the languages of different nationalities reflect their cultural characteristics. Different languages reflect the world outlook of different nationalities. It emphasizes the reaction of language to thinking: language determines thought and mode of thinking, and different languages have different schemata to understand the world. Translation consists of different languages and forms different language schemata. Therefore, equivalence in translation is impossible.

(2) The more you know a language, the greater the distance between nations. This is because different nations have different world views and different language habits. From this point of view, because we are aware of the great differences between different languages, we believe that it is impossible to achieve complete equivalence. Therefore, mutual translation between languages is impossible.

(3) Translation should deeply understand the era, atmosphere and character of the original author, and strive to avoid the obscure side of the translation and ensure the readability of the translation.

(4) The phonological beauty of poetry and drama translation must be maintained. Meter pattern is the key to all beauty.

Humboldt' s contribution to translation theory is that he is aware of the tension and contradiction of translation. He does not recognize the existence of a universal conceptual system beyond language boundaries. Therefore, his view of translation was interpreted as the representative of untranslatability in the 20th century. Because there are two meanings of "ubersetzen" and "dolmesschen" in German translation, "understanding" always carries "pre-understanding", that is, with personal subjective vision or prejudice, it is impossible to completely reach a consensus between different individuals. "Dolmesschen" let us have the opportunity to enter the commonness of language, which enables translation to cross specific social and cultural factors, and it is possible to understand each other between languages, so there is a reason to seek equivalence in translation. This is Humboldt' s dualism of language and translation.

====4.2 The Soaring Literary Translation: Johann Wolfgang Goethe and Friedrich Holdern====

Johann Wolfgang Goethe (1749-1832) is the greatest poet, translator and outstanding representative of Romanticism in Germany.

To sum up, Goethe believes that translation can be divided into three types.

(1) Facing different types of readers, we need different types of translation. In poetry and truth, he said, "if you want to influence the masses, a simple translation is always the best. Critical translations vying with the original really are of use only for conversations the learned conduct among themselves."(Lefevere, Andrew 1992: 75)

(2) Adaptation or imitation translation. "The second stage is that the translator translates contentedly according to his own wishes. Even if the translator tries to integrate himself into foreign situations, I would rather call this stage imitation stage."(Lefevere, Andrew 1992: 75)

(3) Pay attention to rhythmic literal translation sentence by sentence. Homer's ''Odyssey'' and ''Iliad'' translated by German Translator J. h. Voss made him famous overnight. His translation has beautiful rhythm and intonation and accurate choice of words and sentences. Although the public could not accept the strict literal translation rhythm at first, it gradually recognized it later. Goethe emphasizes that public taste can be shaped through translation.

Among all these three types of translation, Goethe most appreciates the literal translation that pays attention to rhythm, because as a poet, he takes into account the poetic characteristics such as meter pattern and rhythm, which are the true qualities of the original author. Goethe mentioned two principles of Translation: first, foreign writers move closer to the target language, so that his works look the same as the target language writers; Second, readers cross the border to adapt to foreign customs and language characteristics.

Goethe's translation theory is based on his romantic aesthetics. He believes that literal translation can not only convey the information of the original text, but also express the beauty of the translation.

Friedrich Holderlin (1770-1843) is the greatest lyric poet in the German Romantic period.

Holderlin advocates that every language of human beings is derived from the same basic language form, that is, what Benjamin called "pure language". Not only translation, but also creation should return to this ancient source. In translation practice, translators should adhere to literal translation, reflecting the heterogeneity of the original text. In modern poetics and translation studies, Holderlin' s language ontology is mainly based on the view of looking for "words beyond speech". This literal translation brings, of course, lexical obscurity, and Holderlin believes that the more obscure the translation, the more enlightening the tension. This poetic dialectics undoubtedly has a mystical point of view. It is very interesting that in the 20th century, people talked most about the essence of translation. The main point of view related to the essence of translation comes from Holderlin, a "firm guardian of letters" of the literal translation school. He created endless topics for translation. To some extent, Holderlin is the prophet of contemporary translation theory.

===5. Conclusion===

To sum up, as an important stage in the development of Western culture, humanistic trend cannot show up without the practice of cultural translation. As a part of the social thought at that time, translation thought is related to the social and cultural context in that period. Like other social trends at that time, translation thoughts in the period of the Renaissance and the Religious Reformation have played an important role in the evolution of the history of western translation, both returning to the original period and moving towards the new era. Humanistic trend is a turning point in the history of western translation. In short, the emergence of humanistic trend on the historical stage indicates that translation practice and theory have broken away from the "dark" Middle Ages and makes a huge step forward".

===References===

Lefevere, Andrew. eds. (1992) Translation/History/Culture: A Source Book. London : Routledge.

Munday, Jeremy. (2001) Introducing Translation Studies : Theories and Applications. London/New York : Routledge.

Robinson, Douglas. (1997) Western Translation Theory : from Herodotus to Nietzsche. Manchester : St. Jerome Publishing.

Rousseau, Jean Jacques and John Gottfried Herder. (1986) On the Oringin of Language. Chicago : The University of Chicago Press.

Wang Zuoliang, He Qishen 王佐良、何其莘(1996). 英国文艺复兴时期文学史 A History of English Renaissance Literature. 北京：外语教学与研究出版社 Beijing: oreign Language Teaching and Research Press.

Wang Zuoliang, He Qishen 王佐良，何其莘(1994). 英国文艺复兴时期的文学史 A History of English Renaissance Literature 北京：外语教学与研究出版社 Beijing: oreign Language Teaching and Research Press.

Written by --[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 08:38, 9 December 2021 (UTC)

Hist Trans Theo EN 12

2021-12-13T11:29:08Z

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=12 魏兆妍 The Humanistic Trend in Western Translation Theory from the 14th to the 19th Century=
[[Hist_Trans_Theo_EN_12]]

'''The Humanistic Trend in Western Translation Theory from the 14th to the 19th Century'''

Wei Zhaoyan 魏兆妍 Hunan Normal University, China

===Abstract===
From the 14th century, Europe began to enter into the Renaissance, and the Christian world view gradually degenerated with the emergence of individual centered humanism. People who submitted to God were regarded as rational and unique individuals, emphasizing their creative potential and giving full play to their talents. With the invention of printing in the 15th century, education and schools began to be open to the public. Reading translated works from different countries was no longer a noble enjoyment. Words and information were transmitted in all directions and more quickly through translation. Translation was called the forerunner of the Renaissance. It can be said that without translation, there would be no European Renaissance and humanistic thought( the European Renaissance and humanistic thoughts didn’t appear, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]])) In Europe, the writers, thinkers and scholars in this period were also translators who knew several languages, ( and we can see that, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]])) translation and creation were closely linked. This paper will focus on the humanistic trend in western translation theory from the 14th to the 19th century, and will also enumerate the representative figures and their translation ideas in this period.

===Key words===
Humanistic trend, Western translation theory, Poetics of translation, National and world visions

===1. Introduction===

From the 14th century, Europe began to enter into the Renaissance. Dante, the last poet in the middle ages, completed ''The Divine Comedy'' in 1321. In Dante's mind, all human life experience, including life and death, must be explained by Christian faith in order to show its meaning and significance. This Christian worldview gradually degenerated with the emergence of individualism-centered humanism. All beings who submitted to God were regarded as rational, unique and creative individuals. In the past years, translators were servants attached to God. Now they have shifted from God to focusing on the translator. Personal development has become the goal and value of life. Although humanist thinkers, writers and translators still maintain the Christian faith, they put more emphasis on personal creative potential and give full play to people's strengths. The focus of translation activities in this period also shifted from the classics of the Christian Church to the translation of more secular humanistic works.

With the invention of printing in the 15th century, education and schools began to be open to the public. Reading translated works from different countries was no longer a noble enjoyment. Through the wings of translation, words and information were transmitted in all directions and more quickly. For example, Marco Polo (1254-1324) told the story of his travels in China, which spread all over the European continent through printed words. The invention of printing not only brought about a cultural revolution, but also a sharp increase in the number of translations. Translation is known as the forerunner of the Renaissance. It can be said that without translation, there would be no European Renaissance and humanistic thought. Take the role of translation in English literature for example: "Translation played a great role in the British Renaissance: first, as a pioneer, it was countless translated works that first caused the mental climate of humanism. Second, translation was still active in the era of the restoration of the king's government, but attention has turned to French works. In the intervening years, that is, in the half century from 1558 to 1603 when Queen Elizabeth was in office, translation activities were more frequent, and famous translations also appeared the most frequently, which constituted a translation climax in the whole history of English literature. " In the Queen Elizabeth era, translation reached an unprecedented prosperity, and good translations of famous works continued to emerge. In the following 17th to 18th centuries, neoclassical literary translation surpassed the previous stage. Translation was particularly important to the development of modern English language, literature and culture. (Wang Zuoliang, He Qishen 1996: 72）

In Europe, the writers, thinkers and scholars in this period were translators who knew several languages, translation and creation were closely linked. A large number of scholars and poets have expressed their opinions on translation. From the 14th to the 16th century, the most representative was Dante's "untranslatability of literature" in Italy (1265-1321); Erasmus of the Netherlands (1466 - 1536) relied on the translator's language knowledge in the translation of ''The Bible''; The translation of German Luther (1482 - 1546) must adopt the language of the people; The translators in Dore’ s mind (1509-1546) in France must understand the original content, be proficient in two languages, avoid word for word translation, adopt popular form and pay attention to the "five translation principles" of beautiful style; Poetry translation in English Chapman' s(1559-1634) mind can not be stiff translation, and the poetry translation method of "rebuilding a new image" can be used.

From the 17th to the 19th century, the representative figures were as follows. Abranco of France: the translation method of “the beautiful unfaithful ones” which emphasized literariness and readability; Bartow (1731-1780) : accurate translation view of "the author is the master and the translator is the servant"; Dryden (1747-1841) of England: three translation principles of "literal translation, free translation and imitation translation"; Tytler (1747-1814): three translation principles of "the translation must completely reproduce the thought of the original work: the style and tone of the translation must be consistent with the characteristics of the original; the translation must be as smooth as the original." ; Humanistic thinker Herder (1744-1830) of German Romanticism: made a pioneering thinking on the language, nationality and the characteristics of relativism in translation. Goethe (1749-1832) of German: called the translator as "the prophet of the people"; Humboldt (1767-1835): expressed the views on translatability and untranslatability which had a great impact on the 20th century. The foreignization translation method of Schleiermacher (1768-1834) in the later stage has influenced the deconstructive translation theory of the 20th century. For the above representative figures and different translation views, this paper will focus on the humanistic trend and enumerate some of the representatives according to the development sequence of the history of western translation theory.

===2. The "Rebels" Who Change the Traditional Concept of Translation===
Since Jerome, the debate between literal and free translation has begun in the west. The dispute between them actually involves the question of whether translation should be equivalent to the original text, that is, faithfulness, which is also a thread running through western translation theory for more than 2000 years. Since the Renaissance, people have become more and more aware of their own subjectivity, but religious influence is everywhere all the time. As a translator, if he has any unconventional translation behavior, he may be persecuted by spirit and body, even lead to death. A history of western translation can be said to be written in the life and blood of translators to a certain extent.

Between 1536 and 1546, three translators died. Two of them were caused by translation work. They were French translation theorist Dolet, religious reformer and translator Martin Luther as well as British translator William Tyndale.
====2.1 Etiene Dolet: Five Principles of Translation====
In the history of western translation theory, the first humanist to systematically expound translation theory was Etiene Dolet(1509-1546). Dolet is a translator, printer and scholar. He is the first translator suffering from translation since the Renaissance. He is a learned, versatile and liberated translator. His interpretation of classics was regarded as walking between orthodoxy and paganism. The European Church has advocated for a long time that the translation of ''The Bible'' should be literal translation, especially the Roman Catholic Church supported the "correct" and conventional translation of ''The Bible'' . Any interpretation and translation that deviated from the classics may be regarded as heresy, criticized and prohibited, and some adventurous interpreters and translators suffered a horrible fate. In 1546, the Theological Seminary of Sorbonne University in France identified that Dolet added the phrase "whereas you will no longer be anything at all" without foundation in the translation of a paragraph about "existence after human death" in Plato's dialogue ''Axiochus'', then he was burned alive at the stake. This paragraph is as follows:

The original text in Greek: Hoti peri men tous zôntas ouk estin, hoi de apothanontes ouk eisin. hôste oute peri se nun estin, ou gar tethnêkas oute ei ti pathois, estai peri se su gar ouk esei.

The French translation by Dolet: Pour ce qu'il est certain que la mort n'est point aux vivants: et quant aux defuncs, ilz ne sont plus: donques la mort les atouches encore moins. Parquoy elle ne peult rien sur toy, car tu n'est pas encores prest à deceder; et quand tu seras décédé, elle n'y pourra rien aussi，attendu que tu ne seras plus ''rien du tou''. (The text in sixteenth century cited by Ballard and Copley Christie)

The translation in English:Since it is certain death is not at all among the living: and as for the dead, they no longer are: therefore, death touches them even less. And hence death can do nothing to you, for you are not yet ready to die, and when you have died, death will also not be able to do anything, since you will no longer be ''anything at all''.

This paragraph by Plato is an obvious atheist view. It is close to the meaning of "how can you know death when you don't know life" (''The Analects of Confucius''). The original Greek version is abstruse and difficult to understand, and there are omissions in many places. It can't be translated without adding cohesive devices. The three words added in italic French and English in the text only play a role in connecting and do not change the meaning of the original text. Dolet's addition was accused of "blasphemy", because such translation was accused of "denying the eternity of the soul", and it was precisely because he "made" this fatal translation "mistake" that he was burned at the age of 37. This accusation was a typical "unnecessary" accusation. As a translator, Dolet only translated the meaning of the original text and did not understand it improperly. The key was that Plato described Aristotle's conversation, Sorbonne's clergy could not blame Plato, so they had to blame Dolet for adding the three French words “rien du tout” (nothing at all) , because these three words could not be found in Greek or Latin, the church accused him of misunderstanding Plato's intention, blaspheming the gods and not believing in eternity. So, the risk of translation arises.

Because Dolet was persecuted by the clergy to death, his "five principles on translation" was cherished by the western translation field. Dolet's "five principles on translation" came from ''The Way of Translating Well from One Language into Another'' (1540) The excerpts of the original text are as follows:

To translate well from one language into another requires in the main five things:

(1)In the first place, the translator must understand perfectly the sense and matter of the author he is translating, although he should feel free to clarifty obscurities.

(2)The translator should have a perfect knowldgwe of boh SL and IL, so as not to lessen the majesty of the language.

(3) The translator should avoid word for word renderings.

(4)The translator should avoid Latinate and unusual forms.

(5)The translator should assemble and liaise words eloquently to avoid clumsiness.(Robinson, Douglas 1997: 95~96)

From the five translation principles put forward by Dolet, he advocated free translation, especially he didn't advocate rigid literal translation and paid attention to the beauty of the translation. Articles 1 and 2 can be regarded as the necessary conditions for translators. The latter three advocate that translators should use fresh language expressions, avoid using rare Greek or Latin words, but use natural and fluent forms in the target language in order to improve the social status and influence of French, Italian, German and Spanish after the disintegration of Latin. These five principles emphasized that the translator cannot follow the master like a slave, being obedient and using word for word translation method which show that the translator is poor in skills and lacks rich lexical expression. In Dolet's view, translation is the translation of meaning, not words. In order to express the author's intention, the translator has the right to adjust and reverse the sentence pattern of the translation.

====2.2 Martin Luther: the Tongue of the Common Man====

Martin Luther (1483-1546) is a German religious reformer and translator in the 16th century. As a translator of the German version of ''The Bible'', he is known as the father of German language and literature. His discussion on translation is mainly recorded in ''The Circular Letter''(1530).

For hundreds of years, people have been used to going to church to listen to ''The Bible'', because under the control of Catholicism, ordinary people have no right to read it by themselves. Luther's translation of the obscure Latin ''Bible'' into contemporary popular German is a great revolution, which is as valuable as his religious revolution. When he translated the language of God into contemporary German, he hoped that the German version of the book would be converted into different dialects, put in people's hands and enter into everyone's heart. Once ''The Bible'' translated by Luther was published, ordinary people directly heard the call of God. Luther believed that the German version he translated must be clear and easy to understand. Therefore, he systematically formulated the translation principles. This popular and fluent translation method aimed to be free from the influence of previous established translations, because free translation was also a weapon for Luther to resist the church. His main translation principles are:

(1) The purpose and the original text that the reader cannot understand should be translated freely.

(2) When translating, we should give priority to the meaning and subject content of the text, and don't stick to the grammar of the original text.

(3) Try to use a language that is easy to understand by ordinary people.

(4) Metaphors and idioms in rhetoric can be translated into non figurative language.

(5) Adhere to the reader centered orientation.

In the use of the target language, Luther did not sanctify the target language, but broke the symbol system of it. Sometimes in order to inject vitality, Luther used the people's oral language to break the coherence of the target language and pay attention to people's personal understanding and personality, which undoubtedly strengthened the social communication of the translation. However, the fluency of the translation was not at the expense of the accuracy. Luther's Bible was also very accurate in information transmission. Because the language used by Luther in translating the Bible was a vivid language loved by the people, his translation was welcomed by the people, and has been spread for a long time. Luther's basic translation principle was “You must ask the mother at home，the children in the street, the ordinary man in the market and look at their mouth, how they speak,and translate that way; then they'll understand and see that you’re speaking to them in German.“ So, easy to understand was the most fundamental purpose of Luther's translation. (Munday, Jeremy 2001: 38.)

====2.3 William Tyndale: A Men Who Has Dedicated His Life to Translation====

During the Renaissance, the Englishman who died for translation is William Tyndale (1494 - 1536). He is the most influential Bible translator in the English language. The three most famous Bibles ——''Geneva Bible'', ''The Douay-Rheims Bible'' and ''The King James' Bible'' in the 16th and 17th centuries are all influenced by the translation of ''Tyndale Bible'', especially ''The King James' Bible''.

Tyndale was born in Gloucestershire, England. He studied at Oxford University in his early years and taught at Cambridge University after graduation. Cambridge's humanistic thought shaped his religious thought. He believed that since religious teachings and practices come from ''The Bible'', it is necessary for British people to read it in their own mother tongue. Inspired by Martin Luther's experience in translating the German version of it, Tyndale was determined to translate an English Bible. At that time, the British Conservatives led by Moore insisted that the law stipulated that the unauthorized translation of ''The Bible'' was punishable by death. Because Tyndale was persecuted by the British church, he had to flee to Germany, where religion was relatively free, to work as a translator. As a humanist, Tyndale exposed the hypocrisy of European religion. The church accused him of "weaving love and vain history and fables to poison young people". In 1536, Tyndale was arrested and burned. All in all, Tyndale's translated works were concise and simple, using popular English words and expressions, which pioneered the generation of English translation of ''The Bible''.

What the enumerated translators have in common is that in order to spread knowledge and distinguish truth, they bravely explore the road that predecessors have not gone through, and can devote their whole life to the sacred cause of translation. At the same time, it can also be said that their translation experience and principles are written with blood and life.

===3. The Incarnation of Muse: Poetics of Translation===
Muse (Μουσαι in Greek, muses in Latin) is the general name of the goddess of science and art in ancient Greek mythology. It was born of the god Zeus and Mnemosyne, the goddess of memory. The number of Muses is uncertain, some people say there are three goddesses and others nine goddesses. Since the Renaissance, European poets, like stars, have lit the sky over Europe. These poets not only make poetry, but also translate classical poetry, seek inspiration from traditional literature and summarize poetry translation theory. This spectacle is unprecedented.

Western classical translation focuses on the works of ancient Greek and Roman poets Homer, Virgil and Ovid. These translations have greatly improved the form and content of European countries, especially British poetry art, and brought new creative techniques and skills. For example, the introduction of English poetry should first be attributed to the translation of sonnets. The original form of fourteen line lyric poem originated from Italy is abbaabba, cdecde (the last six lines can also be cdcdcd). This poetic style has been translated and introduced by Surrey, and then improved by Spencer and Shakespeare to become the English sonnet (abab eded efef gg).

Muse, the goddess of literature and art in the west, is fond of English poets. The translation works of Chapman, Dryden, Pope, Shelley and other poets fully reflect the principle of "translating poetry in the poetic way". Their poetry translation practice and theory have been perfectly combined to form a unique literary translation theory.
====3.1 George Chapman: Decorate the Translation with Beautiful Words====
George Chapman (1559-1634) is an English poet, dramatist and translator. Chapman is famous for translating Homer's ''Iliad'' and ''Odyssey''. His translation inspires the British poet John Keats more than a century later (1815), so he writes ''On First looking into Chapman's Homer'', which becomes a masterpiece through the ages.

He worshipped the warrior hero of the Agamemnon family in Greek mythology all his life, which can be seen in his works. This is one of the reasons why he chose to translate Homer's works. In 1611, he completed the translation of the ''Iliad'' in sonnets. In 1616, he finished translating the ''Odyssey'' in the poetic style of heroic antithesis. His translation has become one of the most popular works in the history of English literature and played a connecting role in the history of literature. For 200 years after its publication, its translation has been the standard English translation of Homer's works. Chapman's theory of translation criticism can be seen from his translation of the preface written in the ''Iliad'':

That those translators stick in, that affect

Their word-for word traditions( where they lost )

The free grace of their natural dialect,

And shame their authors with a forced gloss)

More license from the words than may express

Their full compression, and make clear the author;

From whose truth, if you think my feet digress,

Because I use needful paraphrases...

( Extract from The Preface to the Reader of the Translation of ''Iliad'')

From Chapman' s translation practice and theory, there are several principles worth summarizing: (1) adhere to translating poetry in poetic way. (2) oppose word for word translation and focus on free translation. (3) adopt the "interpretation" method, advocate that the translation should be decorated. (4) translator should try to show the author's intention. Chapman pays equal attention to translation practice and theory. On the one hand, he pays attention to summarizing translation experience, on the other hand, he has clear principles as translation guidance. At the same time, the deep study of Homer's works and the poetic flavor of poetry are also the reasons for his success. Now let's take a look at a passage in his translation of the ''Iliad'':

All grave old man, and soldiers they had been, but for age

Now left the wars; yet Counselors they were exceeding sage

And as in well grown woods, on trees, cold spinier grasshoppers

Sit chirping and send voices out that scarce can piece our ears

For softness and their weaker faint sounds; so( talking on the tower )

These Seniors of the people sat, who, when they saw the power

Of beauty in the Queen ascend, even those cold-spirited peers,

Those wise and almost withered men, found this heat in their years

That they were forced( though whispering )to say: what men can blame.

The Greeks and Trojans to endure, for so admired a Dame,

So many miseries, and so long? (''Iliad'', iii, 159-169)

Chapman’ s translation was concrete and vivid, with abundant emotion. His rhythm was infectious. (Wang Zuoliang, He Qishen. ''A History of English Renaissance Literature''.Beijing: oreign Language Teaching and Research Press, 1994, p. 85.) However, the addition method of Chapman was often criticized. For example, Homer asked Hector to say, "For well I know this in my mind and in my heart, the day will be, when scaled Troy shall perish." Chapman' s poem is:

And such a stormy day shall come，in mind and soul I know，

When scared Troy shall shed her towers, for tears of overthrow.

The translation is rhyming, antithetical and neat, but "mind and soul", "storm", "towers" and "teams" are added. Optimistically,the translator has rich imagination. Negatively, the translator's fantasy destroys faithfulness. In any case, Chapman' s translation style is magnificent and beautiful, reflecting the gorgeous rhetoric of the Renaissance translation and the translator's deep literary foundation. No wonder Keats felt like "seeing a new star surge into the horizon" . Homer's style is fresh, simple, clear, direct, vivid and powerful. Chapman strives to reproduce Homer's epic features in diction, sentence making and style. He has practiced poetry translation and summed up translation theory. This was rare in England from the 16th to 17th centuries: "the task of a competent and valuable translator is to abide by the sentences, rhetoric and language forms used by his original author, abide by his true meaning and depth, and then decorate them with rhetoric and language forms suitable for the language of the translation itself." (Wang Zuoliang, He Qishen. ''A History of English Renaissance Literature''.Beijing: oreign Language Teaching and Research Press, 1994, p. 82.)

Nevertheless, because Chapman translated Homer's epic in sonnets and tried to create something in phonology, the sonnets still did not conform to the style of Homer's epic, but they made some progress compared with Milton's translation with blank poems. Chapman also translated Ovid' s ''Feast of Sound and Color'' . His free translation method can fully reflect the deep meaning of the original work and was the best way to translate Homer's poetry. Chapman regarded the translation of Homer's epic as a major event in his life and believed that he was born to translate Homer's epic. His poetry translation theory filled the gap of translation theory in the late 16th century and has been inherited and developed by poetry translators from the 17th to 18th centuries.

====3.2 John Denham: Fluent Poetry Translation====

John Denham (1615 - 1669) is the most famous poet and translator in England in the mid-17th century. When he was young, he went to Oxford to study law, but he never worked as a attorney. He becomes famous because he translated the epic ''Aeneas'' written by Virgil, an ancient Greek tragedy. Later, his poetry also makes him famous in the literary world.

Denham' s translation theory is mainly reflected in his two articles on translation. One is ''To Sir Richard Fanshawe upon his translation of pastor Fido'' (1648), and the other is The preface of his translation of Aeneas, ''The Destruction of Troy'' (1656) He believes that art expresses nature in a harmonious and elegant way, so the translator should go beyond the constraints of form and create a novel translation. The translation of literary works is different from the translation of religious and disciplinary works, the former can be less faithful, and the translation of ''Aeneas'' adopts the method of translating poetry in the poetic way, pays attention to the legal effect of poetry, and has achieved good results.

Specifically, Denham' s translation theories include:

(1) Denham follows a "neoclassicism" path ". The translation method pursues a new translation method, that is, the translator should innovate, especially in the charm of poetry. Translation should give full play to the advantages of the target language. This process of using the target language to accultrate the original text is also the domestication translation method. This innovative translation method is deeply influenced by the free translation method advocated by France in the 17th century, that is, the translation should be beautiful. Although Denham pursues the elegance and beauty of his translation, his translation is basically faithful. His free translation mainly focuses on the artistic conception or "poetry for poetry", rather than the translated vocabulary.

(2) Denham believes that the translator and the author enjoy the same status. As a poet and translator, he believes that the translator has the right to extract the core part from the original text and recreate it in the target language. If there is a key word in Denham's translation theory, it is "fluency", as if the translation is not like the translation, but more like creation. In this way, the sentence pattern of the original text can be rewritten, the unclear meaning can be clarified, the smooth poetic rhythm and form can be used, the irregular structure can be avoided, and the pause can be used to strengthen the coherence of poetic sentence patterns. Denham' s fluent translation makes people feel that reading his translation is not reading the translation, but reading the original English work. Therefore, he is known as "Virgil" in Britain.

(3) The translator has his own choice and motivation. Denham chooses the free translation method and the translation of ''Aeneas'' has its own purpose: the relationship between the king and his descendants in the Trojan story will remind the reader of Britain at that time. He hopes to give cultural support to the English monarch through the translation of such a work. There is an imaginary connection between Troy's pedigree and the defeated Caroline government at that time. This kind of ideological manipulation and rewriting confirms his translation It serves the royalists. Therefore, his translation is very flexible and has more freedom than other translators.

====3.3 John Dryden: Three Principles of Translation====

John Dryden (1631 - 1700), an English poet, translator and dramatist, is the most influential critic in Britain in the 17th century. His literary criticism has influenced the following two centuries. As a translation theorist, his discourse on translation is considered to be the most systematic in western translation theory before the 17th century.

The three translation types (1680) divided by Dryden and the three translation principles (1797) of Tytler all advocated to talk about translation in civilian rather than pretentious academic language, which is why their translation theory is still used today. As the "the first translation theorist" so far, Dryden' s translation views were mainly reflected in the translation of the ''Preface to Ovid' s Epistles''. Dryden classified three types of translation as follows:

All translations,I suppose, may be reduced to these three heads.

(1)Fist( At first, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]])), that of metaphrase，or turning an author word by word, and line by line, from one language into another. Thus, or near this manner, was Horace his ''Art of Poetry'' translated by Ben Jonson.

(2)The second way is that of ( delate that of, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]))paraphrase, or translation with latitude, where the author is ( delate “is” , corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]))kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that too is (it is admitted to, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]))admitted to be amplified, but not altered. Such is Mr. Walter' s translation of Virgil's fourth ''Aeneid''.

(3)The third way is that of imitation, where the translator( if now he has not lost that name) assumes the liberty, not only to vary from the words and sense, but to forsake them both as he sees occasion; and taking some hints from the original, to run division on the groundwork, as he pleases. Such is Mr. Cowley' s practice in turning two Odes of Pindar, and one of Horace, into English.

Among the three translation methods, Dryden is most opposed to Ben Jonson' s word for word translation, that is, literal translation. It is considered that this translation method is like "tis much like dancing on ropes with fed legs", which mechanically imitates the original text, but can not be separated from the constraints of its grammar, sentence pattern and poetic rhythm, so that its semantics is obscure. As for the great freedom of imitation translation, the purpose of the translator is to imitate the previous works in subject content and literary form, neither translated words nor translated meaning. Therefore, literal translation and imitation translation are the two most extreme forms of translation, and translators should take warning. Free translation is the translation method advocated by Dryden. The so-called free translation means that the translator must have a limit of freedom. He should always see the author and not lose his way. From this point of view, Dryden insists that poetry translation must "translate poetry with poetry", that is, the person who translates poetry must be a poet, so that he can understand the charm of the original and better express it in the target language and aesthetic language.

The three classifications of Dryden' s translation have a great influence on the western translation theory in the 20th century. They are an indispensable part of western translation theory. His translation theory represents the peak of the development of English and criticism theory in the 17th century.

====3.4 Alexander Pope: Translation of Homer Epic====

Alexander Pope (1688-1744) is an important poet and translator in the Enlightenment period of the 18th century. His ''An Essay on Criticism'' (744 lines) is written in antithetical verses, expounds ( expounding, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]))the aesthetic principles of classical literature and art, and establishes Pope's position in the history of English literature. Pope became famous for translating Homer's epics and won a reward of 10000 pounds and a great reputation.

Pope's translation of Homer's epic is accused by translation critics of not rhyming and reading like an 18th century Englishman. In other words, Pope's translation of Homer's epic is not so much a reflection of Homer's style as Pope's own style. His translation is full of personal characteristics and idioms. But when discussing translation, Pope said that his translation is better than those full of translation cavity. His main translation views are recorded in the translation preface of the ''Iliad''. Pope's translation theory is very similar to Dryden' s: (1) he advocates free translation and maintains the beauty of poetry translation. (2) it is the sacred mission of the translator not to add or delete arbitrarily in translation. (3) the relationship between literal translation and free translation is dialectical. Literal translation can not reproduce the beautiful meaning of the original text, but it is wrong to make up for it by hasty free translation. (4) servile loyalty to the literal meaning will only damage the poetic style of the original text. (5) the plain and clear style of Homer's epic in modern language is not a lesson. Translation should reflect the main characteristics of the original: when talking about the beauty and defects of the original, we should talk about the translation, which is the embodiment of the main characteristics of it. As long as the main parts of the original poem show the contents such as fables, etiquette and emotion, no translator will save and compress them out of his own prejudice. The same is true for the translation of every image, description and simile. If we save too much translation, it will weaken the main characteristics of the original poem.

In Pope's view, the translator should not only grasp the characteristics of the original text, but also deal with the idioms and metaphors in Homer's epic, strive to reproduce the image of the original text, and can not be arbitrarily deleted due to personal prejudice. The beautiful and noble poetic features of the original text should also be reproduced in the translation. Pope is often criticized for some affectation and arbitrary play. The accusation of the former may be related to Pope's neoclassicism. Arbitrary play is a major feature of some humanist translators.

Generally speaking, Pope adopts the domestication translation method to explain, understand and translate the original work with the poetic concepts of the Enlightenment period, in order to maintain a smooth and natural poetic flavor in the target language. Compared with the other two translators of Homer's epics Chapman and R. lattinmore, Pope's translation is generally very neat and elegant, reproducing the style of neoclassicism. Chapman' s translation is beautiful, while the translation of R. lattinmore, a translator in the 20th century, is fresh and casual. In general, Pope's translation of Homer's epic is neat and reproduces Homer's poetic flavor, charm to a certain extent.

===4. The National and World Visions of Translation===

The 17th century to the 19th century is the climax of the development of modern western translation theory. A large number of writers and translators with world reputation have sprung up in Britain, France and Germany. Generally speaking, the free translation school originated in France in the 17th century and had a great influence on Britain. There were many innovations in translation theory in Britain from the 17th to the 18th century. The discussion at this stage mainly focused on the translation of classical poetry. In Germany, with the emergence of “Stum and Drang, Storm and Stress” and Romanticism in the 18th and 19th centuries, German Conservatism has showed up.

The 19th century, represented by the "Stum and Drang, Storm and Stress", is a period of great development of German Conservatism, represented by the "German Romanticism", which is also a stage of the transition of literary and artistic forms from classicism to Romanticism, which can also be said to be the romanticism in the naive period. The central representatives of this movement are the famous writers Goethe and Schiller. Goethe's ''The Troubles of Young Witt'' is the representative work of this period, expressing the conflict of human inner feelings and the spirit of striving. This movement lasted for nearly 30 years, from 1765 to 1795, and then was replaced by the mature romantic movement. A large number of linguists, writers and translation theorists such as Herder, Goethe, Humboldt, Schleiermacher, Holderlin and Schlegel came on stage one after another. They translated a considerable number of classical works of ancient Greece and Rome, also translated and introduced a large number of works of other European countries (such as the translation of Shakespeare's plays). German literature in this period has won a great reputation all over the world. Due to the participation of the above-mentioned literature, German translation activities and translation research have also reached an unprecedented zenith, which has laid a solid foundation for western translation theory in the 20th century.

====4.1 Language Shapes the National Identity: Johann Gottfried Herder and Wilhelm von Humboldt====

The humanistic thoughts sweeping the whole Europe, such as humanism, classicism, enlightenment, “Stum and Drang, Storm and Stress” and romanticism, make the relationship between European countries closer and closer. These movements provide important conditions and environment for the birth of translation theory. Herder and Humboldt demonstrated the relationship between language, translation and national identity from the perspective of language.

Johann Gottfried Herder (1744 - 1803) is a pioneer of the German rapid movement. As a forerunner of the enlightenment movement, Herder always focuses on how to use translation to transform German literature. In his opinion, the growth of German national literature is inseparable from translation. His views on translation are scattered on the origin of language, on the more recent German literature and other works. These views on language and translation have a great impact on language education and translation circles. From the perspective of language, he believes that speech is invented by man, and language represents rationality: "Without language, man has no reason and without reason no language." Herder's view of language nature opposes taking language as a simple tool and medium. He believes that language is a national organism, which can best reflect the national spirit and national soul (Volksgeist) , is the bond that forms the nation-state. Whoever loses his own language loses his identity and patriotism. Germans should be proud of their language and nation. Herder and Humboldt put forward that language determines thinking, which not only provides a basis for the self hypothesis theory two centuries later, but also gives a view of the uncertainty and untranslatability of translation buried the foreshadowing. (Rousseau, Jean Jacques and John Gottfried Herder 1986: 121)

Herder opposes the deification of language and insists on explaining the generation of language from the perspective of naturalism. He believes that rationality is the key to the origin of language. He tries to provide a natural rather than reductionist explanation for human characteristics and creativity, and seeks the origin of language in human natural characteristics. Herder's natural reductionism is not only used to explain the origin of language, but also the power of natural interpretation is extended to all fields of culture to reflect the characteristics of human creation, such as art, religion, law, etc. Through the power of natural interpretation, they are included in a scientific world outlook. This language turning point fundamental. Its significance is that people begin to pay real attention to the problems of language itself, such as the essence of language, the relationship between language and rationality, how language can be expressed, etc. Then Humboldt inherited and developed Herder's view. Language blindness is no longer just a vassal of rationality, a simple tool. From then on, he began to get out of the influence of theology and gradually formed an independent philosophy of language.

Herder's views had a great impact on Humboldt.

Wilhelm von Humboldt (1767-1835) is the most influential linguist, philosopher and educational reformer in the West.

Humboldt's main translation views are:

(1) Language determines thought and culture. A language is the reflection of real life. Language has unique national characteristics, and the languages of different nationalities reflect their cultural characteristics. Different languages reflect the world outlook of different nationalities. It emphasizes the reaction of language to thinking: language determines thought and mode of thinking, and different languages have different schemata to understand the world. Translation consists of different languages and forms different language schemata. Therefore, equivalence in translation is impossible.

(2) The more you know a language, the greater the distance between nations. This is because different nations have different world views and different language habits. From this point of view, because we are aware of the great differences between different languages, we believe that it is impossible to achieve complete equivalence. Therefore, mutual translation between languages is impossible.

(3) Translation should deeply understand the era, atmosphere and character of the original author, and strive to avoid the obscure side of the translation and ensure the readability of the translation.

(4) The phonological beauty of poetry and drama translation must be maintained. Meter pattern is the key to all beauty.

Humboldt' s contribution to translation theory is that he is aware of the tension and contradiction of translation. He does not recognize the existence of a universal conceptual system beyond language boundaries. Therefore, his view of translation was interpreted as the representative of untranslatability in the 20th century. Because there are two meanings of "ubersetzen" and "dolmesschen" in German translation, "understanding" always carries "pre-understanding", that is, with personal subjective vision or prejudice, it is impossible to completely reach a consensus between different individuals. "Dolmesschen" let us have the opportunity to enter the commonness of language, which enables translation to cross specific social and cultural factors, and it is possible to understand each other between languages, so there is a reason to seek equivalence in translation. This is Humboldt' s dualism of language and translation.

====4.2 The Soaring Literary Translation: Johann Wolfgang Goethe and Friedrich Holdern====

Johann Wolfgang Goethe (1749-1832) is the greatest poet, translator and outstanding representative of Romanticism in Germany.

To sum up, Goethe believes that translation can be divided into three types.

(1) Facing different types of readers, we need different types of translation. In poetry and truth, he said, "if you want to influence the masses, a simple translation is always the best. Critical translations vying with the original really are of use only for conversations the learned conduct among themselves."(Lefevere, Andrew 1992: 75)

(2) Adaptation or imitation translation. "The second stage is that the translator translates contentedly according to his own wishes. Even if the translator tries to integrate himself into foreign situations, I would rather call this stage imitation stage."(Lefevere, Andrew 1992: 75)

(3) Pay attention to rhythmic literal translation sentence by sentence. Homer's ''Odyssey'' and ''Iliad'' translated by German Translator J. h. Voss made him famous overnight. His translation has beautiful rhythm and intonation and accurate choice of words and sentences. Although the public could not accept the strict literal translation rhythm at first, it gradually recognized it later. Goethe emphasizes that public taste can be shaped through translation.

Among all these three types of translation, Goethe most appreciates the literal translation that pays attention to rhythm, because as a poet, he takes into account the poetic characteristics such as meter pattern and rhythm, which are the true qualities of the original author. Goethe mentioned two principles of Translation: first, foreign writers move closer to the target language, so that his works look the same as the target language writers; Second, readers cross the border to adapt to foreign customs and language characteristics.

Goethe's translation theory is based on his romantic aesthetics. He believes that literal translation can not only convey the information of the original text, but also express the beauty of the translation.

Friedrich Holderlin (1770-1843) is the greatest lyric poet in the German Romantic period.

Holderlin advocates that every language of human beings is derived from the same basic language form, that is, what Benjamin called "pure language". Not only translation, but also creation should return to this ancient source. In translation practice, translators should adhere to literal translation, reflecting the heterogeneity of the original text. In modern poetics and translation studies, Holderlin' s language ontology is mainly based on the view of looking for "words beyond speech". This literal translation brings, of course, lexical obscurity, and Holderlin believes that the more obscure the translation, the more enlightening the tension. This poetic dialectics undoubtedly has a mystical point of view. It is very interesting that in the 20th century, people talked most about the essence of translation. The main point of view related to the essence of translation comes from Holderlin, a "firm guardian of letters" of the literal translation school. He created endless topics for translation. To some extent, Holderlin is the prophet of contemporary translation theory.

===5. Conclusion===

To sum up, as an important stage in the development of Western culture, humanistic trend cannot show up without the practice of cultural translation. As a part of the social thought at that time, translation thought is related to the social and cultural context in that period. Like other social trends at that time, translation thoughts in the period of the Renaissance and the Religious Reformation have played an important role in the evolution of the history of western translation, both returning to the original period and moving towards the new era. Humanistic trend is a turning point in the history of western translation. In short, the emergence of humanistic trend on the historical stage indicates that translation practice and theory have broken away from the "dark" Middle Ages and makes a huge step forward".

===References===

Lefevere, Andrew. eds. (1992) Translation/History/Culture: A Source Book. London : Routledge.

Munday, Jeremy. (2001) Introducing Translation Studies : Theories and Applications. London/New York : Routledge.

Robinson, Douglas. (1997) Western Translation Theory : from Herodotus to Nietzsche. Manchester : St. Jerome Publishing.

Rousseau, Jean Jacques and John Gottfried Herder. (1986) On the Oringin of Language. Chicago : The University of Chicago Press.

Wang Zuoliang, He Qishen 王佐良、何其莘(1996). 英国文艺复兴时期文学史 A History of English Renaissance Literature. 北京：外语教学与研究出版社 Beijing: oreign Language Teaching and Research Press.

Wang Zuoliang, He Qishen 王佐良，何其莘(1994). 英国文艺复兴时期的文学史 A History of English Renaissance Literature 北京：外语教学与研究出版社 Beijing: oreign Language Teaching and Research Press.

Written by --[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 08:38, 9 December 2021 (UTC)

Hist Trans Theo EN 12

2021-12-13T11:26:11Z

Wei Zhaoyan: /* 4.1 Language Shapes the National Identity: Johann Gottfried Herder and Wilhelm von Humboldt */

'''History of Translation Theories'''

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=12 魏兆妍 The Humanistic Trend in Western Translation Theory from the 14th to the 19th Century=
[[Hist_Trans_Theo_EN_12]]

'''The Humanistic Trend in Western Translation Theory from the 14th to the 19th Century'''

Wei Zhaoyan 魏兆妍 Hunan Normal University, China

===Abstract===
From the 14th century, Europe began to enter into the Renaissance, and the Christian world view gradually degenerated with the emergence of individual centered humanism. People who submitted to God were regarded as rational and unique individuals, emphasizing their creative potential and giving full play to their talents. With the invention of printing in the 15th century, education and schools began to be open to the public. Reading translated works from different countries was no longer a noble enjoyment. Words and information were transmitted in all directions and more quickly through translation. Translation was called the forerunner of the Renaissance. It can be said that without translation, there would be no European Renaissance and humanistic thought( the European Renaissance and humanistic thoughts didn’t appear, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]])) In Europe, the writers, thinkers and scholars in this period were also translators who knew several languages, ( and we can see that, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]])) translation and creation were closely linked. This paper will focus on the humanistic trend in western translation theory from the 14th to the 19th century, and will also enumerate the representative figures and their translation ideas in this period.

===Key words===
Humanistic trend, Western translation theory, Poetics of translation, National and world visions

===1. Introduction===

From the 14th century, Europe began to enter into the Renaissance. Dante, the last poet in the middle ages, completed ''The Divine Comedy'' in 1321. In Dante's mind, all human life experience, including life and death, must be explained by Christian faith in order to show its meaning and significance. This Christian worldview gradually degenerated with the emergence of individualism-centered humanism. All beings who submitted to God were regarded as rational, unique and creative individuals. In the past years, translators were servants attached to God. Now they have shifted from God to focusing on the translator. Personal development has become the goal and value of life. Although humanist thinkers, writers and translators still maintain the Christian faith, they put more emphasis on personal creative potential and give full play to people's strengths. The focus of translation activities in this period also shifted from the classics of the Christian Church to the translation of more secular humanistic works.

With the invention of printing in the 15th century, education and schools began to be open to the public. Reading translated works from different countries was no longer a noble enjoyment. Through the wings of translation, words and information were transmitted in all directions and more quickly. For example, Marco Polo (1254-1324) told the story of his travels in China, which spread all over the European continent through printed words. The invention of printing not only brought about a cultural revolution, but also a sharp increase in the number of translations. Translation is known as the forerunner of the Renaissance. It can be said that without translation, there would be no European Renaissance and humanistic thought. Take the role of translation in English literature for example: "Translation played a great role in the British Renaissance: first, as a pioneer, it was countless translated works that first caused the mental climate of humanism. Second, translation was still active in the era of the restoration of the king's government, but attention has turned to French works. In the intervening years, that is, in the half century from 1558 to 1603 when Queen Elizabeth was in office, translation activities were more frequent, and famous translations also appeared the most frequently, which constituted a translation climax in the whole history of English literature. " (Wang Zuoliang, He Qishen. A History of English Renaissance Literature. Beijing: ''Language Teaching and Research Press'', 1996, p. 72.）In the Queen Elizabeth era, translation reached an unprecedented prosperity, and good translations of famous works continued to emerge. In the following 17th to 18th centuries, neoclassical literary translation surpassed the previous stage. Translation was particularly important to the development of modern English language, literature and culture.

In Europe, the writers, thinkers and scholars in this period were translators who knew several languages, translation and creation were closely linked. A large number of scholars and poets have expressed their opinions on translation. From the 14th to the 16th century, the most representative was Dante's "untranslatability of literature" in Italy (1265-1321); Erasmus of the Netherlands (1466 - 1536) relied on the translator's language knowledge in the translation of ''The Bible''; The translation of German Luther (1482 - 1546) must adopt the language of the people; The translators in Dore’ s mind (1509-1546) in France must understand the original content, be proficient in two languages, avoid word for word translation, adopt popular form and pay attention to the "five translation principles" of beautiful style; Poetry translation in English Chapman' s(1559-1634) mind can not be stiff translation, and the poetry translation method of "rebuilding a new image" can be used.

From the 17th to the 19th century, the representative figures were as follows. Abranco of France: the translation method of “the beautiful unfaithful ones” which emphasized literariness and readability; Bartow (1731-1780) : accurate translation view of "the author is the master and the translator is the servant"; Dryden (1747-1841) of England: three translation principles of "literal translation, free translation and imitation translation"; Tytler (1747-1814): three translation principles of "the translation must completely reproduce the thought of the original work: the style and tone of the translation must be consistent with the characteristics of the original; the translation must be as smooth as the original." ; Humanistic thinker Herder (1744-1830) of German Romanticism: made a pioneering thinking on the language, nationality and the characteristics of relativism in translation. Goethe (1749-1832) of German: called the translator as "the prophet of the people"; Humboldt (1767-1835): expressed the views on translatability and untranslatability which had a great impact on the 20th century. The foreignization translation method of Schleiermacher (1768-1834) in the later stage has influenced the deconstructive translation theory of the 20th century. For the above representative figures and different translation views, this paper will focus on the humanistic trend and enumerate some of the representatives according to the development sequence of the history of western translation theory.

===2. The "Rebels" Who Change the Traditional Concept of Translation===
Since Jerome, the debate between literal and free translation has begun in the west. The dispute between them actually involves the question of whether translation should be equivalent to the original text, that is, faithfulness, which is also a thread running through western translation theory for more than 2000 years. Since the Renaissance, people have become more and more aware of their own subjectivity, but religious influence is everywhere all the time. As a translator, if he has any unconventional translation behavior, he may be persecuted by spirit and body, even lead to death. A history of western translation can be said to be written in the life and blood of translators to a certain extent.

Between 1536 and 1546, three translators died. Two of them were caused by translation work. They were French translation theorist Dolet, religious reformer and translator Martin Luther as well as British translator William Tyndale.
====2.1 Etiene Dolet: Five Principles of Translation====
In the history of western translation theory, the first humanist to systematically expound translation theory was Etiene Dolet(1509-1546). Dolet is a translator, printer and scholar. He is the first translator suffering from translation since the Renaissance. He is a learned, versatile and liberated translator. His interpretation of classics was regarded as walking between orthodoxy and paganism. The European Church has advocated for a long time that the translation of ''The Bible'' should be literal translation, especially the Roman Catholic Church supported the "correct" and conventional translation of ''The Bible'' . Any interpretation and translation that deviated from the classics may be regarded as heresy, criticized and prohibited, and some adventurous interpreters and translators suffered a horrible fate. In 1546, the Theological Seminary of Sorbonne University in France identified that Dolet added the phrase "whereas you will no longer be anything at all" without foundation in the translation of a paragraph about "existence after human death" in Plato's dialogue ''Axiochus'', then he was burned alive at the stake. This paragraph is as follows:

The original text in Greek: Hoti peri men tous zôntas ouk estin, hoi de apothanontes ouk eisin. hôste oute peri se nun estin, ou gar tethnêkas oute ei ti pathois, estai peri se su gar ouk esei.

The French translation by Dolet: Pour ce qu'il est certain que la mort n'est point aux vivants: et quant aux defuncs, ilz ne sont plus: donques la mort les atouches encore moins. Parquoy elle ne peult rien sur toy, car tu n'est pas encores prest à deceder; et quand tu seras décédé, elle n'y pourra rien aussi，attendu que tu ne seras plus ''rien du tou''. (The text in sixteenth century cited by Ballard and Copley Christie)

The translation in English:Since it is certain death is not at all among the living: and as for the dead, they no longer are: therefore, death touches them even less. And hence death can do nothing to you, for you are not yet ready to die, and when you have died, death will also not be able to do anything, since you will no longer be ''anything at all''.

This paragraph by Plato is an obvious atheist view. It is close to the meaning of "how can you know death when you don't know life" (''The Analects of Confucius''). The original Greek version is abstruse and difficult to understand, and there are omissions in many places. It can't be translated without adding cohesive devices. The three words added in italic French and English in the text only play a role in connecting and do not change the meaning of the original text. Dolet's addition was accused of "blasphemy", because such translation was accused of "denying the eternity of the soul", and it was precisely because he "made" this fatal translation "mistake" that he was burned at the age of 37. This accusation was a typical "unnecessary" accusation. As a translator, Dolet only translated the meaning of the original text and did not understand it improperly. The key was that Plato described Aristotle's conversation, Sorbonne's clergy could not blame Plato, so they had to blame Dolet for adding the three French words “rien du tout” (nothing at all) , because these three words could not be found in Greek or Latin, the church accused him of misunderstanding Plato's intention, blaspheming the gods and not believing in eternity. So, the risk of translation arises.

Because Dolet was persecuted by the clergy to death, his "five principles on translation" was cherished by the western translation field. Dolet's "five principles on translation" came from ''The Way of Translating Well from One Language into Another'' (1540) The excerpts of the original text are as follows:

To translate well from one language into another requires in the main five things:

(1)In the first place, the translator must understand perfectly the sense and matter of the author he is translating, although he should feel free to clarifty obscurities.

(2)The translator should have a perfect knowldgwe of boh SL and IL, so as not to lessen the majesty of the language.

(3) The translator should avoid word for word renderings.

(4)The translator should avoid Latinate and unusual forms.

(5)The translator should assemble and liaise words eloquently to avoid clumsiness.(Robinson, Douglas 1997: 95~96)

From the five translation principles put forward by Dolet, he advocated free translation, especially he didn't advocate rigid literal translation and paid attention to the beauty of the translation. Articles 1 and 2 can be regarded as the necessary conditions for translators. The latter three advocate that translators should use fresh language expressions, avoid using rare Greek or Latin words, but use natural and fluent forms in the target language in order to improve the social status and influence of French, Italian, German and Spanish after the disintegration of Latin. These five principles emphasized that the translator cannot follow the master like a slave, being obedient and using word for word translation method which show that the translator is poor in skills and lacks rich lexical expression. In Dolet's view, translation is the translation of meaning, not words. In order to express the author's intention, the translator has the right to adjust and reverse the sentence pattern of the translation.

====2.2 Martin Luther: the Tongue of the Common Man====

Martin Luther (1483-1546) is a German religious reformer and translator in the 16th century. As a translator of the German version of ''The Bible'', he is known as the father of German language and literature. His discussion on translation is mainly recorded in ''The Circular Letter''(1530).

For hundreds of years, people have been used to going to church to listen to ''The Bible'', because under the control of Catholicism, ordinary people have no right to read it by themselves. Luther's translation of the obscure Latin ''Bible'' into contemporary popular German is a great revolution, which is as valuable as his religious revolution. When he translated the language of God into contemporary German, he hoped that the German version of the book would be converted into different dialects, put in people's hands and enter into everyone's heart. Once ''The Bible'' translated by Luther was published, ordinary people directly heard the call of God. Luther believed that the German version he translated must be clear and easy to understand. Therefore, he systematically formulated the translation principles. This popular and fluent translation method aimed to be free from the influence of previous established translations, because free translation was also a weapon for Luther to resist the church. His main translation principles are:

(1) The purpose and the original text that the reader cannot understand should be translated freely.

(2) When translating, we should give priority to the meaning and subject content of the text, and don't stick to the grammar of the original text.

(3) Try to use a language that is easy to understand by ordinary people.

(4) Metaphors and idioms in rhetoric can be translated into non figurative language.

(5) Adhere to the reader centered orientation.

In the use of the target language, Luther did not sanctify the target language, but broke the symbol system of it. Sometimes in order to inject vitality, Luther used the people's oral language to break the coherence of the target language and pay attention to people's personal understanding and personality, which undoubtedly strengthened the social communication of the translation. However, the fluency of the translation was not at the expense of the accuracy. Luther's Bible was also very accurate in information transmission. Because the language used by Luther in translating the Bible was a vivid language loved by the people, his translation was welcomed by the people, and has been spread for a long time. Luther's basic translation principle was “You must ask the mother at home，the children in the street, the ordinary man in the market and look at their mouth, how they speak,and translate that way; then they'll understand and see that you’re speaking to them in German.“ So, easy to understand was the most fundamental purpose of Luther's translation. (Munday, Jeremy 2001: 38.)

====2.3 William Tyndale: A Men Who Has Dedicated His Life to Translation====

During the Renaissance, the Englishman who died for translation is William Tyndale (1494 - 1536). He is the most influential Bible translator in the English language. The three most famous Bibles ——''Geneva Bible'', ''The Douay-Rheims Bible'' and ''The King James' Bible'' in the 16th and 17th centuries are all influenced by the translation of ''Tyndale Bible'', especially ''The King James' Bible''.

Tyndale was born in Gloucestershire, England. He studied at Oxford University in his early years and taught at Cambridge University after graduation. Cambridge's humanistic thought shaped his religious thought. He believed that since religious teachings and practices come from ''The Bible'', it is necessary for British people to read it in their own mother tongue. Inspired by Martin Luther's experience in translating the German version of it, Tyndale was determined to translate an English Bible. At that time, the British Conservatives led by Moore insisted that the law stipulated that the unauthorized translation of ''The Bible'' was punishable by death. Because Tyndale was persecuted by the British church, he had to flee to Germany, where religion was relatively free, to work as a translator. As a humanist, Tyndale exposed the hypocrisy of European religion. The church accused him of "weaving love and vain history and fables to poison young people". In 1536, Tyndale was arrested and burned. All in all, Tyndale's translated works were concise and simple, using popular English words and expressions, which pioneered the generation of English translation of ''The Bible''.

What the enumerated translators have in common is that in order to spread knowledge and distinguish truth, they bravely explore the road that predecessors have not gone through, and can devote their whole life to the sacred cause of translation. At the same time, it can also be said that their translation experience and principles are written with blood and life.

===3. The Incarnation of Muse: Poetics of Translation===
Muse (Μουσαι in Greek, muses in Latin) is the general name of the goddess of science and art in ancient Greek mythology. It was born of the god Zeus and Mnemosyne, the goddess of memory. The number of Muses is uncertain, some people say there are three goddesses and others nine goddesses. Since the Renaissance, European poets, like stars, have lit the sky over Europe. These poets not only make poetry, but also translate classical poetry, seek inspiration from traditional literature and summarize poetry translation theory. This spectacle is unprecedented.

Western classical translation focuses on the works of ancient Greek and Roman poets Homer, Virgil and Ovid. These translations have greatly improved the form and content of European countries, especially British poetry art, and brought new creative techniques and skills. For example, the introduction of English poetry should first be attributed to the translation of sonnets. The original form of fourteen line lyric poem originated from Italy is abbaabba, cdecde (the last six lines can also be cdcdcd). This poetic style has been translated and introduced by Surrey, and then improved by Spencer and Shakespeare to become the English sonnet (abab eded efef gg).

Muse, the goddess of literature and art in the west, is fond of English poets. The translation works of Chapman, Dryden, Pope, Shelley and other poets fully reflect the principle of "translating poetry in the poetic way". Their poetry translation practice and theory have been perfectly combined to form a unique literary translation theory.
====3.1 George Chapman: Decorate the Translation with Beautiful Words====
George Chapman (1559-1634) is an English poet, dramatist and translator. Chapman is famous for translating Homer's ''Iliad'' and ''Odyssey''. His translation inspires the British poet John Keats more than a century later (1815), so he writes ''On First looking into Chapman's Homer'', which becomes a masterpiece through the ages.

He worshipped the warrior hero of the Agamemnon family in Greek mythology all his life, which can be seen in his works. This is one of the reasons why he chose to translate Homer's works. In 1611, he completed the translation of the ''Iliad'' in sonnets. In 1616, he finished translating the ''Odyssey'' in the poetic style of heroic antithesis. His translation has become one of the most popular works in the history of English literature and played a connecting role in the history of literature. For 200 years after its publication, its translation has been the standard English translation of Homer's works. Chapman's theory of translation criticism can be seen from his translation of the preface written in the ''Iliad'':

That those translators stick in, that affect

Their word-for word traditions( where they lost )

The free grace of their natural dialect,

And shame their authors with a forced gloss)

More license from the words than may express

Their full compression, and make clear the author;

From whose truth, if you think my feet digress,

Because I use needful paraphrases...

( Extract from The Preface to the Reader of the Translation of ''Iliad'')

From Chapman' s translation practice and theory, there are several principles worth summarizing: (1) adhere to translating poetry in poetic way. (2) oppose word for word translation and focus on free translation. (3) adopt the "interpretation" method, advocate that the translation should be decorated. (4) translator should try to show the author's intention. Chapman pays equal attention to translation practice and theory. On the one hand, he pays attention to summarizing translation experience, on the other hand, he has clear principles as translation guidance. At the same time, the deep study of Homer's works and the poetic flavor of poetry are also the reasons for his success. Now let's take a look at a passage in his translation of the ''Iliad'':

All grave old man, and soldiers they had been, but for age

Now left the wars; yet Counselors they were exceeding sage

And as in well grown woods, on trees, cold spinier grasshoppers

Sit chirping and send voices out that scarce can piece our ears

For softness and their weaker faint sounds; so( talking on the tower )

These Seniors of the people sat, who, when they saw the power

Of beauty in the Queen ascend, even those cold-spirited peers,

Those wise and almost withered men, found this heat in their years

That they were forced( though whispering )to say: what men can blame.

The Greeks and Trojans to endure, for so admired a Dame,

So many miseries, and so long? (''Iliad'', iii, 159-169)

Chapman’ s translation was concrete and vivid, with abundant emotion. His rhythm was infectious. (Wang Zuoliang, He Qishen. ''A History of English Renaissance Literature''.Beijing: oreign Language Teaching and Research Press, 1994, p. 85.) However, the addition method of Chapman was often criticized. For example, Homer asked Hector to say, "For well I know this in my mind and in my heart, the day will be, when scaled Troy shall perish." Chapman' s poem is:

And such a stormy day shall come，in mind and soul I know，

When scared Troy shall shed her towers, for tears of overthrow.

The translation is rhyming, antithetical and neat, but "mind and soul", "storm", "towers" and "teams" are added. Optimistically,the translator has rich imagination. Negatively, the translator's fantasy destroys faithfulness. In any case, Chapman' s translation style is magnificent and beautiful, reflecting the gorgeous rhetoric of the Renaissance translation and the translator's deep literary foundation. No wonder Keats felt like "seeing a new star surge into the horizon" . Homer's style is fresh, simple, clear, direct, vivid and powerful. Chapman strives to reproduce Homer's epic features in diction, sentence making and style. He has practiced poetry translation and summed up translation theory. This was rare in England from the 16th to 17th centuries: "the task of a competent and valuable translator is to abide by the sentences, rhetoric and language forms used by his original author, abide by his true meaning and depth, and then decorate them with rhetoric and language forms suitable for the language of the translation itself." (Wang Zuoliang, He Qishen. ''A History of English Renaissance Literature''.Beijing: oreign Language Teaching and Research Press, 1994, p. 82.)

Nevertheless, because Chapman translated Homer's epic in sonnets and tried to create something in phonology, the sonnets still did not conform to the style of Homer's epic, but they made some progress compared with Milton's translation with blank poems. Chapman also translated Ovid' s ''Feast of Sound and Color'' . His free translation method can fully reflect the deep meaning of the original work and was the best way to translate Homer's poetry. Chapman regarded the translation of Homer's epic as a major event in his life and believed that he was born to translate Homer's epic. His poetry translation theory filled the gap of translation theory in the late 16th century and has been inherited and developed by poetry translators from the 17th to 18th centuries.

====3.2 John Denham: Fluent Poetry Translation====

John Denham (1615 - 1669) is the most famous poet and translator in England in the mid-17th century. When he was young, he went to Oxford to study law, but he never worked as a attorney. He becomes famous because he translated the epic ''Aeneas'' written by Virgil, an ancient Greek tragedy. Later, his poetry also makes him famous in the literary world.

Denham' s translation theory is mainly reflected in his two articles on translation. One is ''To Sir Richard Fanshawe upon his translation of pastor Fido'' (1648), and the other is The preface of his translation of Aeneas, ''The Destruction of Troy'' (1656) He believes that art expresses nature in a harmonious and elegant way, so the translator should go beyond the constraints of form and create a novel translation. The translation of literary works is different from the translation of religious and disciplinary works, the former can be less faithful, and the translation of ''Aeneas'' adopts the method of translating poetry in the poetic way, pays attention to the legal effect of poetry, and has achieved good results.

Specifically, Denham' s translation theories include:

(1) Denham follows a "neoclassicism" path ". The translation method pursues a new translation method, that is, the translator should innovate, especially in the charm of poetry. Translation should give full play to the advantages of the target language. This process of using the target language to accultrate the original text is also the domestication translation method. This innovative translation method is deeply influenced by the free translation method advocated by France in the 17th century, that is, the translation should be beautiful. Although Denham pursues the elegance and beauty of his translation, his translation is basically faithful. His free translation mainly focuses on the artistic conception or "poetry for poetry", rather than the translated vocabulary.

(2) Denham believes that the translator and the author enjoy the same status. As a poet and translator, he believes that the translator has the right to extract the core part from the original text and recreate it in the target language. If there is a key word in Denham's translation theory, it is "fluency", as if the translation is not like the translation, but more like creation. In this way, the sentence pattern of the original text can be rewritten, the unclear meaning can be clarified, the smooth poetic rhythm and form can be used, the irregular structure can be avoided, and the pause can be used to strengthen the coherence of poetic sentence patterns. Denham' s fluent translation makes people feel that reading his translation is not reading the translation, but reading the original English work. Therefore, he is known as "Virgil" in Britain.

(3) The translator has his own choice and motivation. Denham chooses the free translation method and the translation of ''Aeneas'' has its own purpose: the relationship between the king and his descendants in the Trojan story will remind the reader of Britain at that time. He hopes to give cultural support to the English monarch through the translation of such a work. There is an imaginary connection between Troy's pedigree and the defeated Caroline government at that time. This kind of ideological manipulation and rewriting confirms his translation It serves the royalists. Therefore, his translation is very flexible and has more freedom than other translators.

====3.3 John Dryden: Three Principles of Translation====

John Dryden (1631 - 1700), an English poet, translator and dramatist, is the most influential critic in Britain in the 17th century. His literary criticism has influenced the following two centuries. As a translation theorist, his discourse on translation is considered to be the most systematic in western translation theory before the 17th century.

The three translation types (1680) divided by Dryden and the three translation principles (1797) of Tytler all advocated to talk about translation in civilian rather than pretentious academic language, which is why their translation theory is still used today. As the "the first translation theorist" so far, Dryden' s translation views were mainly reflected in the translation of the ''Preface to Ovid' s Epistles''. Dryden classified three types of translation as follows:

All translations,I suppose, may be reduced to these three heads.

(1)Fist( At first, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]])), that of metaphrase，or turning an author word by word, and line by line, from one language into another. Thus, or near this manner, was Horace his ''Art of Poetry'' translated by Ben Jonson.

(2)The second way is that of ( delate that of, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]))paraphrase, or translation with latitude, where the author is ( delate “is” , corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]))kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that too is (it is admitted to, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]))admitted to be amplified, but not altered. Such is Mr. Walter' s translation of Virgil's fourth ''Aeneid''.

(3)The third way is that of imitation, where the translator( if now he has not lost that name) assumes the liberty, not only to vary from the words and sense, but to forsake them both as he sees occasion; and taking some hints from the original, to run division on the groundwork, as he pleases. Such is Mr. Cowley' s practice in turning two Odes of Pindar, and one of Horace, into English.

Among the three translation methods, Dryden is most opposed to Ben Jonson' s word for word translation, that is, literal translation. It is considered that this translation method is like "tis much like dancing on ropes with fed legs", which mechanically imitates the original text, but can not be separated from the constraints of its grammar, sentence pattern and poetic rhythm, so that its semantics is obscure. As for the great freedom of imitation translation, the purpose of the translator is to imitate the previous works in subject content and literary form, neither translated words nor translated meaning. Therefore, literal translation and imitation translation are the two most extreme forms of translation, and translators should take warning. Free translation is the translation method advocated by Dryden. The so-called free translation means that the translator must have a limit of freedom. He should always see the author and not lose his way. From this point of view, Dryden insists that poetry translation must "translate poetry with poetry", that is, the person who translates poetry must be a poet, so that he can understand the charm of the original and better express it in the target language and aesthetic language.

The three classifications of Dryden' s translation have a great influence on the western translation theory in the 20th century. They are an indispensable part of western translation theory. His translation theory represents the peak of the development of English and criticism theory in the 17th century.

====3.4 Alexander Pope: Translation of Homer Epic====

Alexander Pope (1688-1744) is an important poet and translator in the Enlightenment period of the 18th century. His ''An Essay on Criticism'' (744 lines) is written in antithetical verses, expounds ( expounding, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]))the aesthetic principles of classical literature and art, and establishes Pope's position in the history of English literature. Pope became famous for translating Homer's epics and won a reward of 10000 pounds and a great reputation.

Pope's translation of Homer's epic is accused by translation critics of not rhyming and reading like an 18th century Englishman. In other words, Pope's translation of Homer's epic is not so much a reflection of Homer's style as Pope's own style. His translation is full of personal characteristics and idioms. But when discussing translation, Pope said that his translation is better than those full of translation cavity. His main translation views are recorded in the translation preface of the ''Iliad''. Pope's translation theory is very similar to Dryden' s: (1) he advocates free translation and maintains the beauty of poetry translation. (2) it is the sacred mission of the translator not to add or delete arbitrarily in translation. (3) the relationship between literal translation and free translation is dialectical. Literal translation can not reproduce the beautiful meaning of the original text, but it is wrong to make up for it by hasty free translation. (4) servile loyalty to the literal meaning will only damage the poetic style of the original text. (5) the plain and clear style of Homer's epic in modern language is not a lesson. Translation should reflect the main characteristics of the original: when talking about the beauty and defects of the original, we should talk about the translation, which is the embodiment of the main characteristics of it. As long as the main parts of the original poem show the contents such as fables, etiquette and emotion, no translator will save and compress them out of his own prejudice. The same is true for the translation of every image, description and simile. If we save too much translation, it will weaken the main characteristics of the original poem.

In Pope's view, the translator should not only grasp the characteristics of the original text, but also deal with the idioms and metaphors in Homer's epic, strive to reproduce the image of the original text, and can not be arbitrarily deleted due to personal prejudice. The beautiful and noble poetic features of the original text should also be reproduced in the translation. Pope is often criticized for some affectation and arbitrary play. The accusation of the former may be related to Pope's neoclassicism. Arbitrary play is a major feature of some humanist translators.

Generally speaking, Pope adopts the domestication translation method to explain, understand and translate the original work with the poetic concepts of the Enlightenment period, in order to maintain a smooth and natural poetic flavor in the target language. Compared with the other two translators of Homer's epics Chapman and R. lattinmore, Pope's translation is generally very neat and elegant, reproducing the style of neoclassicism. Chapman' s translation is beautiful, while the translation of R. lattinmore, a translator in the 20th century, is fresh and casual. In general, Pope's translation of Homer's epic is neat and reproduces Homer's poetic flavor, charm to a certain extent.

===4. The National and World Visions of Translation===

The 17th century to the 19th century is the climax of the development of modern western translation theory. A large number of writers and translators with world reputation have sprung up in Britain, France and Germany. Generally speaking, the free translation school originated in France in the 17th century and had a great influence on Britain. There were many innovations in translation theory in Britain from the 17th to the 18th century. The discussion at this stage mainly focused on the translation of classical poetry. In Germany, with the emergence of “Stum and Drang, Storm and Stress” and Romanticism in the 18th and 19th centuries, German Conservatism has showed up.

The 19th century, represented by the "Stum and Drang, Storm and Stress", is a period of great development of German Conservatism, represented by the "German Romanticism", which is also a stage of the transition of literary and artistic forms from classicism to Romanticism, which can also be said to be the romanticism in the naive period. The central representatives of this movement are the famous writers Goethe and Schiller. Goethe's ''The Troubles of Young Witt'' is the representative work of this period, expressing the conflict of human inner feelings and the spirit of striving. This movement lasted for nearly 30 years, from 1765 to 1795, and then was replaced by the mature romantic movement. A large number of linguists, writers and translation theorists such as Herder, Goethe, Humboldt, Schleiermacher, Holderlin and Schlegel came on stage one after another. They translated a considerable number of classical works of ancient Greece and Rome, also translated and introduced a large number of works of other European countries (such as the translation of Shakespeare's plays). German literature in this period has won a great reputation all over the world. Due to the participation of the above-mentioned literature, German translation activities and translation research have also reached an unprecedented zenith, which has laid a solid foundation for western translation theory in the 20th century.

====4.1 Language Shapes the National Identity: Johann Gottfried Herder and Wilhelm von Humboldt====

The humanistic thoughts sweeping the whole Europe, such as humanism, classicism, enlightenment, “Stum and Drang, Storm and Stress” and romanticism, make the relationship between European countries closer and closer. These movements provide important conditions and environment for the birth of translation theory. Herder and Humboldt demonstrated the relationship between language, translation and national identity from the perspective of language.

Johann Gottfried Herder (1744 - 1803) is a pioneer of the German rapid movement. As a forerunner of the enlightenment movement, Herder always focuses on how to use translation to transform German literature. In his opinion, the growth of German national literature is inseparable from translation. His views on translation are scattered on the origin of language, on the more recent German literature and other works. These views on language and translation have a great impact on language education and translation circles. From the perspective of language, he believes that speech is invented by man, and language represents rationality: "Without language, man has no reason and without reason no language." Herder's view of language nature opposes taking language as a simple tool and medium. He believes that language is a national organism, which can best reflect the national spirit and national soul (Volksgeist) , is the bond that forms the nation-state. Whoever loses his own language loses his identity and patriotism. Germans should be proud of their language and nation. Herder and Humboldt put forward that language determines thinking, which not only provides a basis for the self hypothesis theory two centuries later, but also gives a view of the uncertainty and untranslatability of translation buried the foreshadowing. (Rousseau, Jean Jacques and John Gottfried Herder 1986: 121)

Herder opposes the deification of language and insists on explaining the generation of language from the perspective of naturalism. He believes that rationality is the key to the origin of language. He tries to provide a natural rather than reductionist explanation for human characteristics and creativity, and seeks the origin of language in human natural characteristics. Herder's natural reductionism is not only used to explain the origin of language, but also the power of natural interpretation is extended to all fields of culture to reflect the characteristics of human creation, such as art, religion, law, etc. Through the power of natural interpretation, they are included in a scientific world outlook. This language turning point fundamental. Its significance is that people begin to pay real attention to the problems of language itself, such as the essence of language, the relationship between language and rationality, how language can be expressed, etc. Then Humboldt inherited and developed Herder's view. Language blindness is no longer just a vassal of rationality, a simple tool. From then on, he began to get out of the influence of theology and gradually formed an independent philosophy of language.

Herder's views had a great impact on Humboldt.

Wilhelm von Humboldt (1767-1835) is the most influential linguist, philosopher and educational reformer in the West.

Humboldt's main translation views are:

(1) Language determines thought and culture. A language is the reflection of real life. Language has unique national characteristics, and the languages of different nationalities reflect their cultural characteristics. Different languages reflect the world outlook of different nationalities. It emphasizes the reaction of language to thinking: language determines thought and mode of thinking, and different languages have different schemata to understand the world. Translation consists of different languages and forms different language schemata. Therefore, equivalence in translation is impossible.

(2) The more you know a language, the greater the distance between nations. This is because different nations have different world views and different language habits. From this point of view, because we are aware of the great differences between different languages, we believe that it is impossible to achieve complete equivalence. Therefore, mutual translation between languages is impossible.

(3) Translation should deeply understand the era, atmosphere and character of the original author, and strive to avoid the obscure side of the translation and ensure the readability of the translation.

(4) The phonological beauty of poetry and drama translation must be maintained. Meter pattern is the key to all beauty.

Humboldt' s contribution to translation theory is that he is aware of the tension and contradiction of translation. He does not recognize the existence of a universal conceptual system beyond language boundaries. Therefore, his view of translation was interpreted as the representative of untranslatability in the 20th century. Because there are two meanings of "ubersetzen" and "dolmesschen" in German translation, "understanding" always carries "pre-understanding", that is, with personal subjective vision or prejudice, it is impossible to completely reach a consensus between different individuals. "Dolmesschen" let us have the opportunity to enter the commonness of language, which enables translation to cross specific social and cultural factors, and it is possible to understand each other between languages, so there is a reason to seek equivalence in translation. This is Humboldt' s dualism of language and translation.

====4.2 The Soaring Literary Translation: Johann Wolfgang Goethe and Friedrich Holdern====

Johann Wolfgang Goethe (1749-1832) is the greatest poet, translator and outstanding representative of Romanticism in Germany.

To sum up, Goethe believes that translation can be divided into three types.

(1) Facing different types of readers, we need different types of translation. In poetry and truth, he said, "if you want to influence the masses, a simple translation is always the best. Critical translations vying with the original really are of use only for conversations the learned conduct among themselves."(Lefevere, Andrew 1992: 75)

(2) Adaptation or imitation translation. "The second stage is that the translator translates contentedly according to his own wishes. Even if the translator tries to integrate himself into foreign situations, I would rather call this stage imitation stage."(Lefevere, Andrew 1992: 75)

(3) Pay attention to rhythmic literal translation sentence by sentence. Homer's ''Odyssey'' and ''Iliad'' translated by German Translator J. h. Voss made him famous overnight. His translation has beautiful rhythm and intonation and accurate choice of words and sentences. Although the public could not accept the strict literal translation rhythm at first, it gradually recognized it later. Goethe emphasizes that public taste can be shaped through translation.

Among all these three types of translation, Goethe most appreciates the literal translation that pays attention to rhythm, because as a poet, he takes into account the poetic characteristics such as meter pattern and rhythm, which are the true qualities of the original author. Goethe mentioned two principles of Translation: first, foreign writers move closer to the target language, so that his works look the same as the target language writers; Second, readers cross the border to adapt to foreign customs and language characteristics.

Goethe's translation theory is based on his romantic aesthetics. He believes that literal translation can not only convey the information of the original text, but also express the beauty of the translation.

Friedrich Holderlin (1770-1843) is the greatest lyric poet in the German Romantic period.

Holderlin advocates that every language of human beings is derived from the same basic language form, that is, what Benjamin called "pure language". Not only translation, but also creation should return to this ancient source. In translation practice, translators should adhere to literal translation, reflecting the heterogeneity of the original text. In modern poetics and translation studies, Holderlin' s language ontology is mainly based on the view of looking for "words beyond speech". This literal translation brings, of course, lexical obscurity, and Holderlin believes that the more obscure the translation, the more enlightening the tension. This poetic dialectics undoubtedly has a mystical point of view. It is very interesting that in the 20th century, people talked most about the essence of translation. The main point of view related to the essence of translation comes from Holderlin, a "firm guardian of letters" of the literal translation school. He created endless topics for translation. To some extent, Holderlin is the prophet of contemporary translation theory.

===5. Conclusion===

To sum up, as an important stage in the development of Western culture, humanistic trend cannot show up without the practice of cultural translation. As a part of the social thought at that time, translation thought is related to the social and cultural context in that period. Like other social trends at that time, translation thoughts in the period of the Renaissance and the Religious Reformation have played an important role in the evolution of the history of western translation, both returning to the original period and moving towards the new era. Humanistic trend is a turning point in the history of western translation. In short, the emergence of humanistic trend on the historical stage indicates that translation practice and theory have broken away from the "dark" Middle Ages and makes a huge step forward".

===References===

Lefevere, Andrew. eds. (1992) Translation/History/Culture: A Source Book. London : Routledge.

Munday, Jeremy. (2001) Introducing Translation Studies : Theories and Applications. London/New York : Routledge.

Robinson, Douglas. (1997) Western Translation Theory : from Herodotus to Nietzsche. Manchester : St. Jerome Publishing.

Rousseau, Jean Jacques and John Gottfried Herder. (1986) On the Oringin of Language. Chicago : The University of Chicago Press.

Wang Zuoliang, He Qishen 王佐良、何其莘(1996). 英国文艺复兴时期文学史 A History of English Renaissance Literature. 北京：外语教学与研究出版社 Beijing: oreign Language Teaching and Research Press.

Wang Zuoliang, He Qishen 王佐良，何其莘(1994). 英国文艺复兴时期的文学史 A History of English Renaissance Literature 北京：外语教学与研究出版社 Beijing: oreign Language Teaching and Research Press.

Written by --[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 08:38, 9 December 2021 (UTC)

Hist Trans Theo EN 12

2021-12-13T11:23:35Z

Wei Zhaoyan: /* 2.1 Etiene Dolet: Five Principles of Translation */

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=12 魏兆妍 The Humanistic Trend in Western Translation Theory from the 14th to the 19th Century=
[[Hist_Trans_Theo_EN_12]]

'''The Humanistic Trend in Western Translation Theory from the 14th to the 19th Century'''

Wei Zhaoyan 魏兆妍 Hunan Normal University, China

===Abstract===
From the 14th century, Europe began to enter into the Renaissance, and the Christian world view gradually degenerated with the emergence of individual centered humanism. People who submitted to God were regarded as rational and unique individuals, emphasizing their creative potential and giving full play to their talents. With the invention of printing in the 15th century, education and schools began to be open to the public. Reading translated works from different countries was no longer a noble enjoyment. Words and information were transmitted in all directions and more quickly through translation. Translation was called the forerunner of the Renaissance. It can be said that without translation, there would be no European Renaissance and humanistic thought( the European Renaissance and humanistic thoughts didn’t appear, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]])) In Europe, the writers, thinkers and scholars in this period were also translators who knew several languages, ( and we can see that, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]])) translation and creation were closely linked. This paper will focus on the humanistic trend in western translation theory from the 14th to the 19th century, and will also enumerate the representative figures and their translation ideas in this period.

===Key words===
Humanistic trend, Western translation theory, Poetics of translation, National and world visions

===1. Introduction===

From the 14th century, Europe began to enter into the Renaissance. Dante, the last poet in the middle ages, completed ''The Divine Comedy'' in 1321. In Dante's mind, all human life experience, including life and death, must be explained by Christian faith in order to show its meaning and significance. This Christian worldview gradually degenerated with the emergence of individualism-centered humanism. All beings who submitted to God were regarded as rational, unique and creative individuals. In the past years, translators were servants attached to God. Now they have shifted from God to focusing on the translator. Personal development has become the goal and value of life. Although humanist thinkers, writers and translators still maintain the Christian faith, they put more emphasis on personal creative potential and give full play to people's strengths. The focus of translation activities in this period also shifted from the classics of the Christian Church to the translation of more secular humanistic works.

With the invention of printing in the 15th century, education and schools began to be open to the public. Reading translated works from different countries was no longer a noble enjoyment. Through the wings of translation, words and information were transmitted in all directions and more quickly. For example, Marco Polo (1254-1324) told the story of his travels in China, which spread all over the European continent through printed words. The invention of printing not only brought about a cultural revolution, but also a sharp increase in the number of translations. Translation is known as the forerunner of the Renaissance. It can be said that without translation, there would be no European Renaissance and humanistic thought. Take the role of translation in English literature for example: "Translation played a great role in the British Renaissance: first, as a pioneer, it was countless translated works that first caused the mental climate of humanism. Second, translation was still active in the era of the restoration of the king's government, but attention has turned to French works. In the intervening years, that is, in the half century from 1558 to 1603 when Queen Elizabeth was in office, translation activities were more frequent, and famous translations also appeared the most frequently, which constituted a translation climax in the whole history of English literature. " (Wang Zuoliang, He Qishen. A History of English Renaissance Literature. Beijing: ''Language Teaching and Research Press'', 1996, p. 72.）In the Queen Elizabeth era, translation reached an unprecedented prosperity, and good translations of famous works continued to emerge. In the following 17th to 18th centuries, neoclassical literary translation surpassed the previous stage. Translation was particularly important to the development of modern English language, literature and culture.

In Europe, the writers, thinkers and scholars in this period were translators who knew several languages, translation and creation were closely linked. A large number of scholars and poets have expressed their opinions on translation. From the 14th to the 16th century, the most representative was Dante's "untranslatability of literature" in Italy (1265-1321); Erasmus of the Netherlands (1466 - 1536) relied on the translator's language knowledge in the translation of ''The Bible''; The translation of German Luther (1482 - 1546) must adopt the language of the people; The translators in Dore’ s mind (1509-1546) in France must understand the original content, be proficient in two languages, avoid word for word translation, adopt popular form and pay attention to the "five translation principles" of beautiful style; Poetry translation in English Chapman' s(1559-1634) mind can not be stiff translation, and the poetry translation method of "rebuilding a new image" can be used.

From the 17th to the 19th century, the representative figures were as follows. Abranco of France: the translation method of “the beautiful unfaithful ones” which emphasized literariness and readability; Bartow (1731-1780) : accurate translation view of "the author is the master and the translator is the servant"; Dryden (1747-1841) of England: three translation principles of "literal translation, free translation and imitation translation"; Tytler (1747-1814): three translation principles of "the translation must completely reproduce the thought of the original work: the style and tone of the translation must be consistent with the characteristics of the original; the translation must be as smooth as the original." ; Humanistic thinker Herder (1744-1830) of German Romanticism: made a pioneering thinking on the language, nationality and the characteristics of relativism in translation. Goethe (1749-1832) of German: called the translator as "the prophet of the people"; Humboldt (1767-1835): expressed the views on translatability and untranslatability which had a great impact on the 20th century. The foreignization translation method of Schleiermacher (1768-1834) in the later stage has influenced the deconstructive translation theory of the 20th century. For the above representative figures and different translation views, this paper will focus on the humanistic trend and enumerate some of the representatives according to the development sequence of the history of western translation theory.

===2. The "Rebels" Who Change the Traditional Concept of Translation===
Since Jerome, the debate between literal and free translation has begun in the west. The dispute between them actually involves the question of whether translation should be equivalent to the original text, that is, faithfulness, which is also a thread running through western translation theory for more than 2000 years. Since the Renaissance, people have become more and more aware of their own subjectivity, but religious influence is everywhere all the time. As a translator, if he has any unconventional translation behavior, he may be persecuted by spirit and body, even lead to death. A history of western translation can be said to be written in the life and blood of translators to a certain extent.

Between 1536 and 1546, three translators died. Two of them were caused by translation work. They were French translation theorist Dolet, religious reformer and translator Martin Luther as well as British translator William Tyndale.
====2.1 Etiene Dolet: Five Principles of Translation====
In the history of western translation theory, the first humanist to systematically expound translation theory was Etiene Dolet(1509-1546). Dolet is a translator, printer and scholar. He is the first translator suffering from translation since the Renaissance. He is a learned, versatile and liberated translator. His interpretation of classics was regarded as walking between orthodoxy and paganism. The European Church has advocated for a long time that the translation of ''The Bible'' should be literal translation, especially the Roman Catholic Church supported the "correct" and conventional translation of ''The Bible'' . Any interpretation and translation that deviated from the classics may be regarded as heresy, criticized and prohibited, and some adventurous interpreters and translators suffered a horrible fate. In 1546, the Theological Seminary of Sorbonne University in France identified that Dolet added the phrase "whereas you will no longer be anything at all" without foundation in the translation of a paragraph about "existence after human death" in Plato's dialogue ''Axiochus'', then he was burned alive at the stake. This paragraph is as follows:

The original text in Greek: Hoti peri men tous zôntas ouk estin, hoi de apothanontes ouk eisin. hôste oute peri se nun estin, ou gar tethnêkas oute ei ti pathois, estai peri se su gar ouk esei.

The French translation by Dolet: Pour ce qu'il est certain que la mort n'est point aux vivants: et quant aux defuncs, ilz ne sont plus: donques la mort les atouches encore moins. Parquoy elle ne peult rien sur toy, car tu n'est pas encores prest à deceder; et quand tu seras décédé, elle n'y pourra rien aussi，attendu que tu ne seras plus ''rien du tou''. (The text in sixteenth century cited by Ballard and Copley Christie)

The translation in English:Since it is certain death is not at all among the living: and as for the dead, they no longer are: therefore, death touches them even less. And hence death can do nothing to you, for you are not yet ready to die, and when you have died, death will also not be able to do anything, since you will no longer be ''anything at all''.

This paragraph by Plato is an obvious atheist view. It is close to the meaning of "how can you know death when you don't know life" (''The Analects of Confucius''). The original Greek version is abstruse and difficult to understand, and there are omissions in many places. It can't be translated without adding cohesive devices. The three words added in italic French and English in the text only play a role in connecting and do not change the meaning of the original text. Dolet's addition was accused of "blasphemy", because such translation was accused of "denying the eternity of the soul", and it was precisely because he "made" this fatal translation "mistake" that he was burned at the age of 37. This accusation was a typical "unnecessary" accusation. As a translator, Dolet only translated the meaning of the original text and did not understand it improperly. The key was that Plato described Aristotle's conversation, Sorbonne's clergy could not blame Plato, so they had to blame Dolet for adding the three French words “rien du tout” (nothing at all) , because these three words could not be found in Greek or Latin, the church accused him of misunderstanding Plato's intention, blaspheming the gods and not believing in eternity. So, the risk of translation arises.

Because Dolet was persecuted by the clergy to death, his "five principles on translation" was cherished by the western translation field. Dolet's "five principles on translation" came from ''The Way of Translating Well from One Language into Another'' (1540) The excerpts of the original text are as follows:

To translate well from one language into another requires in the main five things:

(1)In the first place, the translator must understand perfectly the sense and matter of the author he is translating, although he should feel free to clarifty obscurities.

(2)The translator should have a perfect knowldgwe of boh SL and IL, so as not to lessen the majesty of the language.

(3) The translator should avoid word for word renderings.

(4)The translator should avoid Latinate and unusual forms.

(5)The translator should assemble and liaise words eloquently to avoid clumsiness.(Robinson, Douglas 1997: 95~96)

From the five translation principles put forward by Dolet, he advocated free translation, especially he didn't advocate rigid literal translation and paid attention to the beauty of the translation. Articles 1 and 2 can be regarded as the necessary conditions for translators. The latter three advocate that translators should use fresh language expressions, avoid using rare Greek or Latin words, but use natural and fluent forms in the target language in order to improve the social status and influence of French, Italian, German and Spanish after the disintegration of Latin. These five principles emphasized that the translator cannot follow the master like a slave, being obedient and using word for word translation method which show that the translator is poor in skills and lacks rich lexical expression. In Dolet's view, translation is the translation of meaning, not words. In order to express the author's intention, the translator has the right to adjust and reverse the sentence pattern of the translation.

====2.2 Martin Luther: the Tongue of the Common Man====

Martin Luther (1483-1546) is a German religious reformer and translator in the 16th century. As a translator of the German version of ''The Bible'', he is known as the father of German language and literature. His discussion on translation is mainly recorded in ''The Circular Letter''(1530).

For hundreds of years, people have been used to going to church to listen to ''The Bible'', because under the control of Catholicism, ordinary people have no right to read it by themselves. Luther's translation of the obscure Latin ''Bible'' into contemporary popular German is a great revolution, which is as valuable as his religious revolution. When he translated the language of God into contemporary German, he hoped that the German version of the book would be converted into different dialects, put in people's hands and enter into everyone's heart. Once ''The Bible'' translated by Luther was published, ordinary people directly heard the call of God. Luther believed that the German version he translated must be clear and easy to understand. Therefore, he systematically formulated the translation principles. This popular and fluent translation method aimed to be free from the influence of previous established translations, because free translation was also a weapon for Luther to resist the church. His main translation principles are:

(1) The purpose and the original text that the reader cannot understand should be translated freely.

(2) When translating, we should give priority to the meaning and subject content of the text, and don't stick to the grammar of the original text.

(3) Try to use a language that is easy to understand by ordinary people.

(4) Metaphors and idioms in rhetoric can be translated into non figurative language.

(5) Adhere to the reader centered orientation.

In the use of the target language, Luther did not sanctify the target language, but broke the symbol system of it. Sometimes in order to inject vitality, Luther used the people's oral language to break the coherence of the target language and pay attention to people's personal understanding and personality, which undoubtedly strengthened the social communication of the translation. However, the fluency of the translation was not at the expense of the accuracy. Luther's Bible was also very accurate in information transmission. Because the language used by Luther in translating the Bible was a vivid language loved by the people, his translation was welcomed by the people, and has been spread for a long time. Luther's basic translation principle was “You must ask the mother at home，the children in the street, the ordinary man in the market and look at their mouth, how they speak,and translate that way; then they'll understand and see that you’re speaking to them in German.“ So, easy to understand was the most fundamental purpose of Luther's translation. (Munday, Jeremy 2001: 38.)

====2.3 William Tyndale: A Men Who Has Dedicated His Life to Translation====

During the Renaissance, the Englishman who died for translation is William Tyndale (1494 - 1536). He is the most influential Bible translator in the English language. The three most famous Bibles ——''Geneva Bible'', ''The Douay-Rheims Bible'' and ''The King James' Bible'' in the 16th and 17th centuries are all influenced by the translation of ''Tyndale Bible'', especially ''The King James' Bible''.

Tyndale was born in Gloucestershire, England. He studied at Oxford University in his early years and taught at Cambridge University after graduation. Cambridge's humanistic thought shaped his religious thought. He believed that since religious teachings and practices come from ''The Bible'', it is necessary for British people to read it in their own mother tongue. Inspired by Martin Luther's experience in translating the German version of it, Tyndale was determined to translate an English Bible. At that time, the British Conservatives led by Moore insisted that the law stipulated that the unauthorized translation of ''The Bible'' was punishable by death. Because Tyndale was persecuted by the British church, he had to flee to Germany, where religion was relatively free, to work as a translator. As a humanist, Tyndale exposed the hypocrisy of European religion. The church accused him of "weaving love and vain history and fables to poison young people". In 1536, Tyndale was arrested and burned. All in all, Tyndale's translated works were concise and simple, using popular English words and expressions, which pioneered the generation of English translation of ''The Bible''.

What the enumerated translators have in common is that in order to spread knowledge and distinguish truth, they bravely explore the road that predecessors have not gone through, and can devote their whole life to the sacred cause of translation. At the same time, it can also be said that their translation experience and principles are written with blood and life.

===3. The Incarnation of Muse: Poetics of Translation===
Muse (Μουσαι in Greek, muses in Latin) is the general name of the goddess of science and art in ancient Greek mythology. It was born of the god Zeus and Mnemosyne, the goddess of memory. The number of Muses is uncertain, some people say there are three goddesses and others nine goddesses. Since the Renaissance, European poets, like stars, have lit the sky over Europe. These poets not only make poetry, but also translate classical poetry, seek inspiration from traditional literature and summarize poetry translation theory. This spectacle is unprecedented.

Western classical translation focuses on the works of ancient Greek and Roman poets Homer, Virgil and Ovid. These translations have greatly improved the form and content of European countries, especially British poetry art, and brought new creative techniques and skills. For example, the introduction of English poetry should first be attributed to the translation of sonnets. The original form of fourteen line lyric poem originated from Italy is abbaabba, cdecde (the last six lines can also be cdcdcd). This poetic style has been translated and introduced by Surrey, and then improved by Spencer and Shakespeare to become the English sonnet (abab eded efef gg).

Muse, the goddess of literature and art in the west, is fond of English poets. The translation works of Chapman, Dryden, Pope, Shelley and other poets fully reflect the principle of "translating poetry in the poetic way". Their poetry translation practice and theory have been perfectly combined to form a unique literary translation theory.
====3.1 George Chapman: Decorate the Translation with Beautiful Words====
George Chapman (1559-1634) is an English poet, dramatist and translator. Chapman is famous for translating Homer's ''Iliad'' and ''Odyssey''. His translation inspires the British poet John Keats more than a century later (1815), so he writes ''On First looking into Chapman's Homer'', which becomes a masterpiece through the ages.

He worshipped the warrior hero of the Agamemnon family in Greek mythology all his life, which can be seen in his works. This is one of the reasons why he chose to translate Homer's works. In 1611, he completed the translation of the ''Iliad'' in sonnets. In 1616, he finished translating the ''Odyssey'' in the poetic style of heroic antithesis. His translation has become one of the most popular works in the history of English literature and played a connecting role in the history of literature. For 200 years after its publication, its translation has been the standard English translation of Homer's works. Chapman's theory of translation criticism can be seen from his translation of the preface written in the ''Iliad'':

That those translators stick in, that affect

Their word-for word traditions( where they lost )

The free grace of their natural dialect,

And shame their authors with a forced gloss)

More license from the words than may express

Their full compression, and make clear the author;

From whose truth, if you think my feet digress,

Because I use needful paraphrases...

( Extract from The Preface to the Reader of the Translation of ''Iliad'')

From Chapman' s translation practice and theory, there are several principles worth summarizing: (1) adhere to translating poetry in poetic way. (2) oppose word for word translation and focus on free translation. (3) adopt the "interpretation" method, advocate that the translation should be decorated. (4) translator should try to show the author's intention. Chapman pays equal attention to translation practice and theory. On the one hand, he pays attention to summarizing translation experience, on the other hand, he has clear principles as translation guidance. At the same time, the deep study of Homer's works and the poetic flavor of poetry are also the reasons for his success. Now let's take a look at a passage in his translation of the ''Iliad'':

All grave old man, and soldiers they had been, but for age

Now left the wars; yet Counselors they were exceeding sage

And as in well grown woods, on trees, cold spinier grasshoppers

Sit chirping and send voices out that scarce can piece our ears

For softness and their weaker faint sounds; so( talking on the tower )

These Seniors of the people sat, who, when they saw the power

Of beauty in the Queen ascend, even those cold-spirited peers,

Those wise and almost withered men, found this heat in their years

That they were forced( though whispering )to say: what men can blame.

The Greeks and Trojans to endure, for so admired a Dame,

So many miseries, and so long? (''Iliad'', iii, 159-169)

Chapman’ s translation was concrete and vivid, with abundant emotion. His rhythm was infectious. (Wang Zuoliang, He Qishen. ''A History of English Renaissance Literature''.Beijing: oreign Language Teaching and Research Press, 1994, p. 85.) However, the addition method of Chapman was often criticized. For example, Homer asked Hector to say, "For well I know this in my mind and in my heart, the day will be, when scaled Troy shall perish." Chapman' s poem is:

And such a stormy day shall come，in mind and soul I know，

When scared Troy shall shed her towers, for tears of overthrow.

The translation is rhyming, antithetical and neat, but "mind and soul", "storm", "towers" and "teams" are added. Optimistically,the translator has rich imagination. Negatively, the translator's fantasy destroys faithfulness. In any case, Chapman' s translation style is magnificent and beautiful, reflecting the gorgeous rhetoric of the Renaissance translation and the translator's deep literary foundation. No wonder Keats felt like "seeing a new star surge into the horizon" . Homer's style is fresh, simple, clear, direct, vivid and powerful. Chapman strives to reproduce Homer's epic features in diction, sentence making and style. He has practiced poetry translation and summed up translation theory. This was rare in England from the 16th to 17th centuries: "the task of a competent and valuable translator is to abide by the sentences, rhetoric and language forms used by his original author, abide by his true meaning and depth, and then decorate them with rhetoric and language forms suitable for the language of the translation itself." (Wang Zuoliang, He Qishen. ''A History of English Renaissance Literature''.Beijing: oreign Language Teaching and Research Press, 1994, p. 82.)

Nevertheless, because Chapman translated Homer's epic in sonnets and tried to create something in phonology, the sonnets still did not conform to the style of Homer's epic, but they made some progress compared with Milton's translation with blank poems. Chapman also translated Ovid' s ''Feast of Sound and Color'' . His free translation method can fully reflect the deep meaning of the original work and was the best way to translate Homer's poetry. Chapman regarded the translation of Homer's epic as a major event in his life and believed that he was born to translate Homer's epic. His poetry translation theory filled the gap of translation theory in the late 16th century and has been inherited and developed by poetry translators from the 17th to 18th centuries.

====3.2 John Denham: Fluent Poetry Translation====

John Denham (1615 - 1669) is the most famous poet and translator in England in the mid-17th century. When he was young, he went to Oxford to study law, but he never worked as a attorney. He becomes famous because he translated the epic ''Aeneas'' written by Virgil, an ancient Greek tragedy. Later, his poetry also makes him famous in the literary world.

Denham' s translation theory is mainly reflected in his two articles on translation. One is ''To Sir Richard Fanshawe upon his translation of pastor Fido'' (1648), and the other is The preface of his translation of Aeneas, ''The Destruction of Troy'' (1656) He believes that art expresses nature in a harmonious and elegant way, so the translator should go beyond the constraints of form and create a novel translation. The translation of literary works is different from the translation of religious and disciplinary works, the former can be less faithful, and the translation of ''Aeneas'' adopts the method of translating poetry in the poetic way, pays attention to the legal effect of poetry, and has achieved good results.

Specifically, Denham' s translation theories include:

(1) Denham follows a "neoclassicism" path ". The translation method pursues a new translation method, that is, the translator should innovate, especially in the charm of poetry. Translation should give full play to the advantages of the target language. This process of using the target language to accultrate the original text is also the domestication translation method. This innovative translation method is deeply influenced by the free translation method advocated by France in the 17th century, that is, the translation should be beautiful. Although Denham pursues the elegance and beauty of his translation, his translation is basically faithful. His free translation mainly focuses on the artistic conception or "poetry for poetry", rather than the translated vocabulary.

(2) Denham believes that the translator and the author enjoy the same status. As a poet and translator, he believes that the translator has the right to extract the core part from the original text and recreate it in the target language. If there is a key word in Denham's translation theory, it is "fluency", as if the translation is not like the translation, but more like creation. In this way, the sentence pattern of the original text can be rewritten, the unclear meaning can be clarified, the smooth poetic rhythm and form can be used, the irregular structure can be avoided, and the pause can be used to strengthen the coherence of poetic sentence patterns. Denham' s fluent translation makes people feel that reading his translation is not reading the translation, but reading the original English work. Therefore, he is known as "Virgil" in Britain.

(3) The translator has his own choice and motivation. Denham chooses the free translation method and the translation of ''Aeneas'' has its own purpose: the relationship between the king and his descendants in the Trojan story will remind the reader of Britain at that time. He hopes to give cultural support to the English monarch through the translation of such a work. There is an imaginary connection between Troy's pedigree and the defeated Caroline government at that time. This kind of ideological manipulation and rewriting confirms his translation It serves the royalists. Therefore, his translation is very flexible and has more freedom than other translators.

====3.3 John Dryden: Three Principles of Translation====

John Dryden (1631 - 1700), an English poet, translator and dramatist, is the most influential critic in Britain in the 17th century. His literary criticism has influenced the following two centuries. As a translation theorist, his discourse on translation is considered to be the most systematic in western translation theory before the 17th century.

The three translation types (1680) divided by Dryden and the three translation principles (1797) of Tytler all advocated to talk about translation in civilian rather than pretentious academic language, which is why their translation theory is still used today. As the "the first translation theorist" so far, Dryden' s translation views were mainly reflected in the translation of the ''Preface to Ovid' s Epistles''. Dryden classified three types of translation as follows:

All translations,I suppose, may be reduced to these three heads.

(1)Fist( At first, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]])), that of metaphrase，or turning an author word by word, and line by line, from one language into another. Thus, or near this manner, was Horace his ''Art of Poetry'' translated by Ben Jonson.

(2)The second way is that of ( delate that of, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]))paraphrase, or translation with latitude, where the author is ( delate “is” , corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]))kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that too is (it is admitted to, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]))admitted to be amplified, but not altered. Such is Mr. Walter' s translation of Virgil's fourth ''Aeneid''.

(3)The third way is that of imitation, where the translator( if now he has not lost that name) assumes the liberty, not only to vary from the words and sense, but to forsake them both as he sees occasion; and taking some hints from the original, to run division on the groundwork, as he pleases. Such is Mr. Cowley' s practice in turning two Odes of Pindar, and one of Horace, into English.

Among the three translation methods, Dryden is most opposed to Ben Jonson' s word for word translation, that is, literal translation. It is considered that this translation method is like "tis much like dancing on ropes with fed legs", which mechanically imitates the original text, but can not be separated from the constraints of its grammar, sentence pattern and poetic rhythm, so that its semantics is obscure. As for the great freedom of imitation translation, the purpose of the translator is to imitate the previous works in subject content and literary form, neither translated words nor translated meaning. Therefore, literal translation and imitation translation are the two most extreme forms of translation, and translators should take warning. Free translation is the translation method advocated by Dryden. The so-called free translation means that the translator must have a limit of freedom. He should always see the author and not lose his way. From this point of view, Dryden insists that poetry translation must "translate poetry with poetry", that is, the person who translates poetry must be a poet, so that he can understand the charm of the original and better express it in the target language and aesthetic language.

The three classifications of Dryden' s translation have a great influence on the western translation theory in the 20th century. They are an indispensable part of western translation theory. His translation theory represents the peak of the development of English and criticism theory in the 17th century.

====3.4 Alexander Pope: Translation of Homer Epic====

Alexander Pope (1688-1744) is an important poet and translator in the Enlightenment period of the 18th century. His ''An Essay on Criticism'' (744 lines) is written in antithetical verses, expounds ( expounding, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]))the aesthetic principles of classical literature and art, and establishes Pope's position in the history of English literature. Pope became famous for translating Homer's epics and won a reward of 10000 pounds and a great reputation.

Pope's translation of Homer's epic is accused by translation critics of not rhyming and reading like an 18th century Englishman. In other words, Pope's translation of Homer's epic is not so much a reflection of Homer's style as Pope's own style. His translation is full of personal characteristics and idioms. But when discussing translation, Pope said that his translation is better than those full of translation cavity. His main translation views are recorded in the translation preface of the ''Iliad''. Pope's translation theory is very similar to Dryden' s: (1) he advocates free translation and maintains the beauty of poetry translation. (2) it is the sacred mission of the translator not to add or delete arbitrarily in translation. (3) the relationship between literal translation and free translation is dialectical. Literal translation can not reproduce the beautiful meaning of the original text, but it is wrong to make up for it by hasty free translation. (4) servile loyalty to the literal meaning will only damage the poetic style of the original text. (5) the plain and clear style of Homer's epic in modern language is not a lesson. Translation should reflect the main characteristics of the original: when talking about the beauty and defects of the original, we should talk about the translation, which is the embodiment of the main characteristics of it. As long as the main parts of the original poem show the contents such as fables, etiquette and emotion, no translator will save and compress them out of his own prejudice. The same is true for the translation of every image, description and simile. If we save too much translation, it will weaken the main characteristics of the original poem.

In Pope's view, the translator should not only grasp the characteristics of the original text, but also deal with the idioms and metaphors in Homer's epic, strive to reproduce the image of the original text, and can not be arbitrarily deleted due to personal prejudice. The beautiful and noble poetic features of the original text should also be reproduced in the translation. Pope is often criticized for some affectation and arbitrary play. The accusation of the former may be related to Pope's neoclassicism. Arbitrary play is a major feature of some humanist translators.

Generally speaking, Pope adopts the domestication translation method to explain, understand and translate the original work with the poetic concepts of the Enlightenment period, in order to maintain a smooth and natural poetic flavor in the target language. Compared with the other two translators of Homer's epics Chapman and R. lattinmore, Pope's translation is generally very neat and elegant, reproducing the style of neoclassicism. Chapman' s translation is beautiful, while the translation of R. lattinmore, a translator in the 20th century, is fresh and casual. In general, Pope's translation of Homer's epic is neat and reproduces Homer's poetic flavor, charm to a certain extent.

===4. The National and World Visions of Translation===

The 17th century to the 19th century is the climax of the development of modern western translation theory. A large number of writers and translators with world reputation have sprung up in Britain, France and Germany. Generally speaking, the free translation school originated in France in the 17th century and had a great influence on Britain. There were many innovations in translation theory in Britain from the 17th to the 18th century. The discussion at this stage mainly focused on the translation of classical poetry. In Germany, with the emergence of “Stum and Drang, Storm and Stress” and Romanticism in the 18th and 19th centuries, German Conservatism has showed up.

The 19th century, represented by the "Stum and Drang, Storm and Stress", is a period of great development of German Conservatism, represented by the "German Romanticism", which is also a stage of the transition of literary and artistic forms from classicism to Romanticism, which can also be said to be the romanticism in the naive period. The central representatives of this movement are the famous writers Goethe and Schiller. Goethe's ''The Troubles of Young Witt'' is the representative work of this period, expressing the conflict of human inner feelings and the spirit of striving. This movement lasted for nearly 30 years, from 1765 to 1795, and then was replaced by the mature romantic movement. A large number of linguists, writers and translation theorists such as Herder, Goethe, Humboldt, Schleiermacher, Holderlin and Schlegel came on stage one after another. They translated a considerable number of classical works of ancient Greece and Rome, also translated and introduced a large number of works of other European countries (such as the translation of Shakespeare's plays). German literature in this period has won a great reputation all over the world. Due to the participation of the above-mentioned literature, German translation activities and translation research have also reached an unprecedented zenith, which has laid a solid foundation for western translation theory in the 20th century.

====4.1 Language Shapes the National Identity: Johann Gottfried Herder and Wilhelm von Humboldt====

The humanistic thoughts sweeping the whole Europe, such as humanism, classicism, enlightenment, “Stum and Drang, Storm and Stress” and romanticism, make the relationship between European countries closer and closer. These movements provide important conditions and environment for the birth of translation theory. Herder and Humboldt demonstrated the relationship between language, translation and national identity from the perspective of language.

Johann Gottfried Herder (1744 - 1803) is a pioneer of the German rapid movement. As a forerunner of the enlightenment movement, Herder always focuses on how to use translation to transform German literature. In his opinion, the growth of German national literature is inseparable from translation. His views on translation are scattered on the origin of language, on the more recent German literature and other works. These views on language and translation have a great impact on language education and translation circles. From the perspective of language, he believes that speech is invented by man, and language represents rationality: "Without language, man has no reason and without reason no language." (Rousseau, Jean Jacques and John Gottfried Herder. ''On the Oringin of Language.'' Chicago : The University of Chicago Press, 1986, p. 121.) Herder's view of language nature opposes taking language as a simple tool and medium. He believes that language is a national organism, which can best reflect the national spirit and national soul (Volksgeist) , is the bond that forms the nation-state. Whoever loses his own language loses his identity and patriotism. Germans should be proud of their language and nation. Herder and Humboldt put forward that language determines thinking, which not only provides a basis for the self hypothesis theory two centuries later, but also gives a view of the uncertainty and untranslatability of translation buried the foreshadowing.

Herder opposes the deification of language and insists on explaining the generation of language from the perspective of naturalism. He believes that rationality is the key to the origin of language. He tries to provide a natural rather than reductionist explanation for human characteristics and creativity, and seeks the origin of language in human natural characteristics. Herder's natural reductionism is not only used to explain the origin of language, but also the power of natural interpretation is extended to all fields of culture to reflect the characteristics of human creation, such as art, religion, law, etc. Through the power of natural interpretation, they are included in a scientific world outlook. This language turning point fundamental. Its significance is that people begin to pay real attention to the problems of language itself, such as the essence of language, the relationship between language and rationality, how language can be expressed, etc. Then Humboldt inherited and developed Herder's view. Language blindness is no longer just a vassal of rationality, a simple tool. From then on, he began to get out of the influence of theology and gradually formed an independent philosophy of language.

Herder's views had a great impact on Humboldt.

Wilhelm von Humboldt (1767-1835) is the most influential linguist, philosopher and educational reformer in the West.

Humboldt's main translation views are:

(1) Language determines thought and culture. A language is the reflection of real life. Language has unique national characteristics, and the languages of different nationalities reflect their cultural characteristics. Different languages reflect the world outlook of different nationalities. It emphasizes the reaction of language to thinking: language determines thought and mode of thinking, and different languages have different schemata to understand the world. Translation consists of different languages and forms different language schemata. Therefore, equivalence in translation is impossible.

(2) The more you know a language, the greater the distance between nations. This is because different nations have different world views and different language habits. From this point of view, because we are aware of the great differences between different languages, we believe that it is impossible to achieve complete equivalence. Therefore, mutual translation between languages is impossible.

(3) Translation should deeply understand the era, atmosphere and character of the original author, and strive to avoid the obscure side of the translation and ensure the readability of the translation.

(4) The phonological beauty of poetry and drama translation must be maintained. Meter pattern is the key to all beauty.

Humboldt' s contribution to translation theory is that he is aware of the tension and contradiction of translation. He does not recognize the existence of a universal conceptual system beyond language boundaries. Therefore, his view of translation was interpreted as the representative of untranslatability in the 20th century. Because there are two meanings of "ubersetzen" and "dolmesschen" in German translation, "understanding" always carries "pre-understanding", that is, with personal subjective vision or prejudice, it is impossible to completely reach a consensus between different individuals. "Dolmesschen" let us have the opportunity to enter the commonness of language, which enables translation to cross specific social and cultural factors, and it is possible to understand each other between languages, so there is a reason to seek equivalence in translation. This is Humboldt' s dualism of language and translation.

====4.2 The Soaring Literary Translation: Johann Wolfgang Goethe and Friedrich Holdern====

Johann Wolfgang Goethe (1749-1832) is the greatest poet, translator and outstanding representative of Romanticism in Germany.

To sum up, Goethe believes that translation can be divided into three types.

(1) Facing different types of readers, we need different types of translation. In poetry and truth, he said, "if you want to influence the masses, a simple translation is always the best. Critical translations vying with the original really are of use only for conversations the learned conduct among themselves."(Lefevere, Andrew 1992: 75)

(2) Adaptation or imitation translation. "The second stage is that the translator translates contentedly according to his own wishes. Even if the translator tries to integrate himself into foreign situations, I would rather call this stage imitation stage."(Lefevere, Andrew 1992: 75)

(3) Pay attention to rhythmic literal translation sentence by sentence. Homer's ''Odyssey'' and ''Iliad'' translated by German Translator J. h. Voss made him famous overnight. His translation has beautiful rhythm and intonation and accurate choice of words and sentences. Although the public could not accept the strict literal translation rhythm at first, it gradually recognized it later. Goethe emphasizes that public taste can be shaped through translation.

Among all these three types of translation, Goethe most appreciates the literal translation that pays attention to rhythm, because as a poet, he takes into account the poetic characteristics such as meter pattern and rhythm, which are the true qualities of the original author. Goethe mentioned two principles of Translation: first, foreign writers move closer to the target language, so that his works look the same as the target language writers; Second, readers cross the border to adapt to foreign customs and language characteristics.

Goethe's translation theory is based on his romantic aesthetics. He believes that literal translation can not only convey the information of the original text, but also express the beauty of the translation.

Friedrich Holderlin (1770-1843) is the greatest lyric poet in the German Romantic period.

Holderlin advocates that every language of human beings is derived from the same basic language form, that is, what Benjamin called "pure language". Not only translation, but also creation should return to this ancient source. In translation practice, translators should adhere to literal translation, reflecting the heterogeneity of the original text. In modern poetics and translation studies, Holderlin' s language ontology is mainly based on the view of looking for "words beyond speech". This literal translation brings, of course, lexical obscurity, and Holderlin believes that the more obscure the translation, the more enlightening the tension. This poetic dialectics undoubtedly has a mystical point of view. It is very interesting that in the 20th century, people talked most about the essence of translation. The main point of view related to the essence of translation comes from Holderlin, a "firm guardian of letters" of the literal translation school. He created endless topics for translation. To some extent, Holderlin is the prophet of contemporary translation theory.

===5. Conclusion===

To sum up, as an important stage in the development of Western culture, humanistic trend cannot show up without the practice of cultural translation. As a part of the social thought at that time, translation thought is related to the social and cultural context in that period. Like other social trends at that time, translation thoughts in the period of the Renaissance and the Religious Reformation have played an important role in the evolution of the history of western translation, both returning to the original period and moving towards the new era. Humanistic trend is a turning point in the history of western translation. In short, the emergence of humanistic trend on the historical stage indicates that translation practice and theory have broken away from the "dark" Middle Ages and makes a huge step forward".

===References===

Lefevere, Andrew. eds. (1992) Translation/History/Culture: A Source Book. London : Routledge.

Munday, Jeremy. (2001) Introducing Translation Studies : Theories and Applications. London/New York : Routledge.

Robinson, Douglas. (1997) Western Translation Theory : from Herodotus to Nietzsche. Manchester : St. Jerome Publishing.

Rousseau, Jean Jacques and John Gottfried Herder. (1986) On the Oringin of Language. Chicago : The University of Chicago Press.

Wang Zuoliang, He Qishen 王佐良、何其莘(1996). 英国文艺复兴时期文学史 A History of English Renaissance Literature. 北京：外语教学与研究出版社 Beijing: oreign Language Teaching and Research Press.

Wang Zuoliang, He Qishen 王佐良，何其莘(1994). 英国文艺复兴时期的文学史 A History of English Renaissance Literature 北京：外语教学与研究出版社 Beijing: oreign Language Teaching and Research Press.

Written by --[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 08:38, 9 December 2021 (UTC)

Hist Trans Theo EN 12

2021-12-13T11:22:59Z

Wei Zhaoyan: /* 2.1 Etiene Dolet: Five Principles of Translation */

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=12 魏兆妍 The Humanistic Trend in Western Translation Theory from the 14th to the 19th Century=
[[Hist_Trans_Theo_EN_12]]

'''The Humanistic Trend in Western Translation Theory from the 14th to the 19th Century'''

Wei Zhaoyan 魏兆妍 Hunan Normal University, China

===Abstract===
From the 14th century, Europe began to enter into the Renaissance, and the Christian world view gradually degenerated with the emergence of individual centered humanism. People who submitted to God were regarded as rational and unique individuals, emphasizing their creative potential and giving full play to their talents. With the invention of printing in the 15th century, education and schools began to be open to the public. Reading translated works from different countries was no longer a noble enjoyment. Words and information were transmitted in all directions and more quickly through translation. Translation was called the forerunner of the Renaissance. It can be said that without translation, there would be no European Renaissance and humanistic thought( the European Renaissance and humanistic thoughts didn’t appear, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]])) In Europe, the writers, thinkers and scholars in this period were also translators who knew several languages, ( and we can see that, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]])) translation and creation were closely linked. This paper will focus on the humanistic trend in western translation theory from the 14th to the 19th century, and will also enumerate the representative figures and their translation ideas in this period.

===Key words===
Humanistic trend, Western translation theory, Poetics of translation, National and world visions

===1. Introduction===

From the 14th century, Europe began to enter into the Renaissance. Dante, the last poet in the middle ages, completed ''The Divine Comedy'' in 1321. In Dante's mind, all human life experience, including life and death, must be explained by Christian faith in order to show its meaning and significance. This Christian worldview gradually degenerated with the emergence of individualism-centered humanism. All beings who submitted to God were regarded as rational, unique and creative individuals. In the past years, translators were servants attached to God. Now they have shifted from God to focusing on the translator. Personal development has become the goal and value of life. Although humanist thinkers, writers and translators still maintain the Christian faith, they put more emphasis on personal creative potential and give full play to people's strengths. The focus of translation activities in this period also shifted from the classics of the Christian Church to the translation of more secular humanistic works.

With the invention of printing in the 15th century, education and schools began to be open to the public. Reading translated works from different countries was no longer a noble enjoyment. Through the wings of translation, words and information were transmitted in all directions and more quickly. For example, Marco Polo (1254-1324) told the story of his travels in China, which spread all over the European continent through printed words. The invention of printing not only brought about a cultural revolution, but also a sharp increase in the number of translations. Translation is known as the forerunner of the Renaissance. It can be said that without translation, there would be no European Renaissance and humanistic thought. Take the role of translation in English literature for example: "Translation played a great role in the British Renaissance: first, as a pioneer, it was countless translated works that first caused the mental climate of humanism. Second, translation was still active in the era of the restoration of the king's government, but attention has turned to French works. In the intervening years, that is, in the half century from 1558 to 1603 when Queen Elizabeth was in office, translation activities were more frequent, and famous translations also appeared the most frequently, which constituted a translation climax in the whole history of English literature. " (Wang Zuoliang, He Qishen. A History of English Renaissance Literature. Beijing: ''Language Teaching and Research Press'', 1996, p. 72.）In the Queen Elizabeth era, translation reached an unprecedented prosperity, and good translations of famous works continued to emerge. In the following 17th to 18th centuries, neoclassical literary translation surpassed the previous stage. Translation was particularly important to the development of modern English language, literature and culture.

In Europe, the writers, thinkers and scholars in this period were translators who knew several languages, translation and creation were closely linked. A large number of scholars and poets have expressed their opinions on translation. From the 14th to the 16th century, the most representative was Dante's "untranslatability of literature" in Italy (1265-1321); Erasmus of the Netherlands (1466 - 1536) relied on the translator's language knowledge in the translation of ''The Bible''; The translation of German Luther (1482 - 1546) must adopt the language of the people; The translators in Dore’ s mind (1509-1546) in France must understand the original content, be proficient in two languages, avoid word for word translation, adopt popular form and pay attention to the "five translation principles" of beautiful style; Poetry translation in English Chapman' s(1559-1634) mind can not be stiff translation, and the poetry translation method of "rebuilding a new image" can be used.

From the 17th to the 19th century, the representative figures were as follows. Abranco of France: the translation method of “the beautiful unfaithful ones” which emphasized literariness and readability; Bartow (1731-1780) : accurate translation view of "the author is the master and the translator is the servant"; Dryden (1747-1841) of England: three translation principles of "literal translation, free translation and imitation translation"; Tytler (1747-1814): three translation principles of "the translation must completely reproduce the thought of the original work: the style and tone of the translation must be consistent with the characteristics of the original; the translation must be as smooth as the original." ; Humanistic thinker Herder (1744-1830) of German Romanticism: made a pioneering thinking on the language, nationality and the characteristics of relativism in translation. Goethe (1749-1832) of German: called the translator as "the prophet of the people"; Humboldt (1767-1835): expressed the views on translatability and untranslatability which had a great impact on the 20th century. The foreignization translation method of Schleiermacher (1768-1834) in the later stage has influenced the deconstructive translation theory of the 20th century. For the above representative figures and different translation views, this paper will focus on the humanistic trend and enumerate some of the representatives according to the development sequence of the history of western translation theory.

===2. The "Rebels" Who Change the Traditional Concept of Translation===
Since Jerome, the debate between literal and free translation has begun in the west. The dispute between them actually involves the question of whether translation should be equivalent to the original text, that is, faithfulness, which is also a thread running through western translation theory for more than 2000 years. Since the Renaissance, people have become more and more aware of their own subjectivity, but religious influence is everywhere all the time. As a translator, if he has any unconventional translation behavior, he may be persecuted by spirit and body, even lead to death. A history of western translation can be said to be written in the life and blood of translators to a certain extent.

Between 1536 and 1546, three translators died. Two of them were caused by translation work. They were French translation theorist Dolet, religious reformer and translator Martin Luther as well as British translator William Tyndale.
====2.1 Etiene Dolet: Five Principles of Translation====
In the history of western translation theory, the first humanist to systematically expound translation theory was Etiene Dolet(1509-1546). Dolet is a translator, printer and scholar. He is the first translator suffering from translation since the Renaissance. He is a learned, versatile and liberated translator. His interpretation of classics was regarded as walking between orthodoxy and paganism. The European Church has advocated for a long time that the translation of ''The Bible'' should be literal translation, especially the Roman Catholic Church supported the "correct" and conventional translation of ''The Bible'' . Any interpretation and translation that deviated from the classics may be regarded as heresy, criticized and prohibited, and some adventurous interpreters and translators suffered a horrible fate. In 1546, the Theological Seminary of Sorbonne University in France identified that Dolet added the phrase "whereas you will no longer be anything at all" without foundation in the translation of a paragraph about "existence after human death" in Plato's dialogue ''Axiochus'', then he was burned alive at the stake. This paragraph is as follows:

The original text in Greek: Hoti peri men tous zôntas ouk estin, hoi de apothanontes ouk eisin. hôste oute peri se nun estin, ou gar tethnêkas oute ei ti pathois, estai peri se su gar ouk esei.

The French translation by Dolet: Pour ce qu'il est certain que la mort n'est point aux vivants: et quant aux defuncs, ilz ne sont plus: donques la mort les atouches encore moins. Parquoy elle ne peult rien sur toy, car tu n'est pas encores prest à deceder; et quand tu seras décédé, elle n'y pourra rien aussi，attendu que tu ne seras plus ''rien du tou''. (The text in sixteenth century cited by Ballard and Copley Christie)

The translation in English:Since it is certain death is not at all among the living: and as for the dead, they no longer are: therefore, death touches them even less. And hence death can do nothing to you, for you are not yet ready to die, and when you have died, death will also not be able to do anything, since you will no longer be ''anything at all''.

This paragraph by Plato is an obvious atheist view. It is close to the meaning of "how can you know death when you don't know life" (''The Analects of Confucius''). The original Greek version is abstruse and difficult to understand, and there are omissions in many places. It can't be translated without adding cohesive devices. The three words added in italic French and English in the text only play a role in connecting and do not change the meaning of the original text. Dolet's addition was accused of "blasphemy", because such translation was accused of "denying the eternity of the soul", and it was precisely because he "made" this fatal translation "mistake" that he was burned at the age of 37. This accusation was a typical "unnecessary" accusation. As a translator, Dolet only translated the meaning of the original text and did not understand it improperly. The key was that Plato described Aristotle's conversation, Sorbonne's clergy could not blame Plato, so they had to blame Dolet for adding the three French words “rien du tout” (nothing at all) , because these three words could not be found in Greek or Latin, the church accused him of misunderstanding Plato's intention, blaspheming the gods and not believing in eternity. So, the risk of translation arises.

Because Dolet was persecuted by the clergy to death, his "five principles on translation" was cherished by the western translation field. Dolet's "five principles on translation" came from ''The Way of Translating Well from One Language into Another'' (1540) The excerpts of the original text are as follows:

To translate well from one language into another requires in the main five things:

(1)In the first place, the translator must understand perfectly the sense and matter of the author he is translating, although he should feel free to clarifty obscurities.

(2)The translator should have a perfect knowldgwe of boh SL and IL, so as not to lessen the majesty of the language.

(3) The translator should avoid word for word renderings.

(4)The translator should avoid Latinate and unusual forms.

(5)The translator should assemble and liaise words eloquently to avoid clumsiness.(Robinson, Douglas 1997: 95~96.)

From the five translation principles put forward by Dolet, he advocated free translation, especially he didn't advocate rigid literal translation and paid attention to the beauty of the translation. Articles 1 and 2 can be regarded as the necessary conditions for translators. The latter three advocate that translators should use fresh language expressions, avoid using rare Greek or Latin words, but use natural and fluent forms in the target language in order to improve the social status and influence of French, Italian, German and Spanish after the disintegration of Latin. These five principles emphasized that the translator cannot follow the master like a slave, being obedient and using word for word translation method which show that the translator is poor in skills and lacks rich lexical expression. In Dolet's view, translation is the translation of meaning, not words. In order to express the author's intention, the translator has the right to adjust and reverse the sentence pattern of the translation.

====2.2 Martin Luther: the Tongue of the Common Man====

Martin Luther (1483-1546) is a German religious reformer and translator in the 16th century. As a translator of the German version of ''The Bible'', he is known as the father of German language and literature. His discussion on translation is mainly recorded in ''The Circular Letter''(1530).

For hundreds of years, people have been used to going to church to listen to ''The Bible'', because under the control of Catholicism, ordinary people have no right to read it by themselves. Luther's translation of the obscure Latin ''Bible'' into contemporary popular German is a great revolution, which is as valuable as his religious revolution. When he translated the language of God into contemporary German, he hoped that the German version of the book would be converted into different dialects, put in people's hands and enter into everyone's heart. Once ''The Bible'' translated by Luther was published, ordinary people directly heard the call of God. Luther believed that the German version he translated must be clear and easy to understand. Therefore, he systematically formulated the translation principles. This popular and fluent translation method aimed to be free from the influence of previous established translations, because free translation was also a weapon for Luther to resist the church. His main translation principles are:

(1) The purpose and the original text that the reader cannot understand should be translated freely.

(2) When translating, we should give priority to the meaning and subject content of the text, and don't stick to the grammar of the original text.

(3) Try to use a language that is easy to understand by ordinary people.

(4) Metaphors and idioms in rhetoric can be translated into non figurative language.

(5) Adhere to the reader centered orientation.

In the use of the target language, Luther did not sanctify the target language, but broke the symbol system of it. Sometimes in order to inject vitality, Luther used the people's oral language to break the coherence of the target language and pay attention to people's personal understanding and personality, which undoubtedly strengthened the social communication of the translation. However, the fluency of the translation was not at the expense of the accuracy. Luther's Bible was also very accurate in information transmission. Because the language used by Luther in translating the Bible was a vivid language loved by the people, his translation was welcomed by the people, and has been spread for a long time. Luther's basic translation principle was “You must ask the mother at home，the children in the street, the ordinary man in the market and look at their mouth, how they speak,and translate that way; then they'll understand and see that you’re speaking to them in German.“ So, easy to understand was the most fundamental purpose of Luther's translation. (Munday, Jeremy 2001: 38.)

====2.3 William Tyndale: A Men Who Has Dedicated His Life to Translation====

During the Renaissance, the Englishman who died for translation is William Tyndale (1494 - 1536). He is the most influential Bible translator in the English language. The three most famous Bibles ——''Geneva Bible'', ''The Douay-Rheims Bible'' and ''The King James' Bible'' in the 16th and 17th centuries are all influenced by the translation of ''Tyndale Bible'', especially ''The King James' Bible''.

Tyndale was born in Gloucestershire, England. He studied at Oxford University in his early years and taught at Cambridge University after graduation. Cambridge's humanistic thought shaped his religious thought. He believed that since religious teachings and practices come from ''The Bible'', it is necessary for British people to read it in their own mother tongue. Inspired by Martin Luther's experience in translating the German version of it, Tyndale was determined to translate an English Bible. At that time, the British Conservatives led by Moore insisted that the law stipulated that the unauthorized translation of ''The Bible'' was punishable by death. Because Tyndale was persecuted by the British church, he had to flee to Germany, where religion was relatively free, to work as a translator. As a humanist, Tyndale exposed the hypocrisy of European religion. The church accused him of "weaving love and vain history and fables to poison young people". In 1536, Tyndale was arrested and burned. All in all, Tyndale's translated works were concise and simple, using popular English words and expressions, which pioneered the generation of English translation of ''The Bible''.

What the enumerated translators have in common is that in order to spread knowledge and distinguish truth, they bravely explore the road that predecessors have not gone through, and can devote their whole life to the sacred cause of translation. At the same time, it can also be said that their translation experience and principles are written with blood and life.

===3. The Incarnation of Muse: Poetics of Translation===
Muse (Μουσαι in Greek, muses in Latin) is the general name of the goddess of science and art in ancient Greek mythology. It was born of the god Zeus and Mnemosyne, the goddess of memory. The number of Muses is uncertain, some people say there are three goddesses and others nine goddesses. Since the Renaissance, European poets, like stars, have lit the sky over Europe. These poets not only make poetry, but also translate classical poetry, seek inspiration from traditional literature and summarize poetry translation theory. This spectacle is unprecedented.

Western classical translation focuses on the works of ancient Greek and Roman poets Homer, Virgil and Ovid. These translations have greatly improved the form and content of European countries, especially British poetry art, and brought new creative techniques and skills. For example, the introduction of English poetry should first be attributed to the translation of sonnets. The original form of fourteen line lyric poem originated from Italy is abbaabba, cdecde (the last six lines can also be cdcdcd). This poetic style has been translated and introduced by Surrey, and then improved by Spencer and Shakespeare to become the English sonnet (abab eded efef gg).

Muse, the goddess of literature and art in the west, is fond of English poets. The translation works of Chapman, Dryden, Pope, Shelley and other poets fully reflect the principle of "translating poetry in the poetic way". Their poetry translation practice and theory have been perfectly combined to form a unique literary translation theory.
====3.1 George Chapman: Decorate the Translation with Beautiful Words====
George Chapman (1559-1634) is an English poet, dramatist and translator. Chapman is famous for translating Homer's ''Iliad'' and ''Odyssey''. His translation inspires the British poet John Keats more than a century later (1815), so he writes ''On First looking into Chapman's Homer'', which becomes a masterpiece through the ages.

He worshipped the warrior hero of the Agamemnon family in Greek mythology all his life, which can be seen in his works. This is one of the reasons why he chose to translate Homer's works. In 1611, he completed the translation of the ''Iliad'' in sonnets. In 1616, he finished translating the ''Odyssey'' in the poetic style of heroic antithesis. His translation has become one of the most popular works in the history of English literature and played a connecting role in the history of literature. For 200 years after its publication, its translation has been the standard English translation of Homer's works. Chapman's theory of translation criticism can be seen from his translation of the preface written in the ''Iliad'':

That those translators stick in, that affect

Their word-for word traditions( where they lost )

The free grace of their natural dialect,

And shame their authors with a forced gloss)

More license from the words than may express

Their full compression, and make clear the author;

From whose truth, if you think my feet digress,

Because I use needful paraphrases...

( Extract from The Preface to the Reader of the Translation of ''Iliad'')

From Chapman' s translation practice and theory, there are several principles worth summarizing: (1) adhere to translating poetry in poetic way. (2) oppose word for word translation and focus on free translation. (3) adopt the "interpretation" method, advocate that the translation should be decorated. (4) translator should try to show the author's intention. Chapman pays equal attention to translation practice and theory. On the one hand, he pays attention to summarizing translation experience, on the other hand, he has clear principles as translation guidance. At the same time, the deep study of Homer's works and the poetic flavor of poetry are also the reasons for his success. Now let's take a look at a passage in his translation of the ''Iliad'':

All grave old man, and soldiers they had been, but for age

Now left the wars; yet Counselors they were exceeding sage

And as in well grown woods, on trees, cold spinier grasshoppers

Sit chirping and send voices out that scarce can piece our ears

For softness and their weaker faint sounds; so( talking on the tower )

These Seniors of the people sat, who, when they saw the power

Of beauty in the Queen ascend, even those cold-spirited peers,

Those wise and almost withered men, found this heat in their years

That they were forced( though whispering )to say: what men can blame.

The Greeks and Trojans to endure, for so admired a Dame,

So many miseries, and so long? (''Iliad'', iii, 159-169)

Chapman’ s translation was concrete and vivid, with abundant emotion. His rhythm was infectious. (Wang Zuoliang, He Qishen. ''A History of English Renaissance Literature''.Beijing: oreign Language Teaching and Research Press, 1994, p. 85.) However, the addition method of Chapman was often criticized. For example, Homer asked Hector to say, "For well I know this in my mind and in my heart, the day will be, when scaled Troy shall perish." Chapman' s poem is:

And such a stormy day shall come，in mind and soul I know，

When scared Troy shall shed her towers, for tears of overthrow.

The translation is rhyming, antithetical and neat, but "mind and soul", "storm", "towers" and "teams" are added. Optimistically,the translator has rich imagination. Negatively, the translator's fantasy destroys faithfulness. In any case, Chapman' s translation style is magnificent and beautiful, reflecting the gorgeous rhetoric of the Renaissance translation and the translator's deep literary foundation. No wonder Keats felt like "seeing a new star surge into the horizon" . Homer's style is fresh, simple, clear, direct, vivid and powerful. Chapman strives to reproduce Homer's epic features in diction, sentence making and style. He has practiced poetry translation and summed up translation theory. This was rare in England from the 16th to 17th centuries: "the task of a competent and valuable translator is to abide by the sentences, rhetoric and language forms used by his original author, abide by his true meaning and depth, and then decorate them with rhetoric and language forms suitable for the language of the translation itself." (Wang Zuoliang, He Qishen. ''A History of English Renaissance Literature''.Beijing: oreign Language Teaching and Research Press, 1994, p. 82.)

Nevertheless, because Chapman translated Homer's epic in sonnets and tried to create something in phonology, the sonnets still did not conform to the style of Homer's epic, but they made some progress compared with Milton's translation with blank poems. Chapman also translated Ovid' s ''Feast of Sound and Color'' . His free translation method can fully reflect the deep meaning of the original work and was the best way to translate Homer's poetry. Chapman regarded the translation of Homer's epic as a major event in his life and believed that he was born to translate Homer's epic. His poetry translation theory filled the gap of translation theory in the late 16th century and has been inherited and developed by poetry translators from the 17th to 18th centuries.

====3.2 John Denham: Fluent Poetry Translation====

John Denham (1615 - 1669) is the most famous poet and translator in England in the mid-17th century. When he was young, he went to Oxford to study law, but he never worked as a attorney. He becomes famous because he translated the epic ''Aeneas'' written by Virgil, an ancient Greek tragedy. Later, his poetry also makes him famous in the literary world.

Denham' s translation theory is mainly reflected in his two articles on translation. One is ''To Sir Richard Fanshawe upon his translation of pastor Fido'' (1648), and the other is The preface of his translation of Aeneas, ''The Destruction of Troy'' (1656) He believes that art expresses nature in a harmonious and elegant way, so the translator should go beyond the constraints of form and create a novel translation. The translation of literary works is different from the translation of religious and disciplinary works, the former can be less faithful, and the translation of ''Aeneas'' adopts the method of translating poetry in the poetic way, pays attention to the legal effect of poetry, and has achieved good results.

Specifically, Denham' s translation theories include:

(1) Denham follows a "neoclassicism" path ". The translation method pursues a new translation method, that is, the translator should innovate, especially in the charm of poetry. Translation should give full play to the advantages of the target language. This process of using the target language to accultrate the original text is also the domestication translation method. This innovative translation method is deeply influenced by the free translation method advocated by France in the 17th century, that is, the translation should be beautiful. Although Denham pursues the elegance and beauty of his translation, his translation is basically faithful. His free translation mainly focuses on the artistic conception or "poetry for poetry", rather than the translated vocabulary.

(2) Denham believes that the translator and the author enjoy the same status. As a poet and translator, he believes that the translator has the right to extract the core part from the original text and recreate it in the target language. If there is a key word in Denham's translation theory, it is "fluency", as if the translation is not like the translation, but more like creation. In this way, the sentence pattern of the original text can be rewritten, the unclear meaning can be clarified, the smooth poetic rhythm and form can be used, the irregular structure can be avoided, and the pause can be used to strengthen the coherence of poetic sentence patterns. Denham' s fluent translation makes people feel that reading his translation is not reading the translation, but reading the original English work. Therefore, he is known as "Virgil" in Britain.

(3) The translator has his own choice and motivation. Denham chooses the free translation method and the translation of ''Aeneas'' has its own purpose: the relationship between the king and his descendants in the Trojan story will remind the reader of Britain at that time. He hopes to give cultural support to the English monarch through the translation of such a work. There is an imaginary connection between Troy's pedigree and the defeated Caroline government at that time. This kind of ideological manipulation and rewriting confirms his translation It serves the royalists. Therefore, his translation is very flexible and has more freedom than other translators.

====3.3 John Dryden: Three Principles of Translation====

John Dryden (1631 - 1700), an English poet, translator and dramatist, is the most influential critic in Britain in the 17th century. His literary criticism has influenced the following two centuries. As a translation theorist, his discourse on translation is considered to be the most systematic in western translation theory before the 17th century.

The three translation types (1680) divided by Dryden and the three translation principles (1797) of Tytler all advocated to talk about translation in civilian rather than pretentious academic language, which is why their translation theory is still used today. As the "the first translation theorist" so far, Dryden' s translation views were mainly reflected in the translation of the ''Preface to Ovid' s Epistles''. Dryden classified three types of translation as follows:

All translations,I suppose, may be reduced to these three heads.

(1)Fist( At first, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]])), that of metaphrase，or turning an author word by word, and line by line, from one language into another. Thus, or near this manner, was Horace his ''Art of Poetry'' translated by Ben Jonson.

(2)The second way is that of ( delate that of, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]))paraphrase, or translation with latitude, where the author is ( delate “is” , corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]))kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that too is (it is admitted to, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]))admitted to be amplified, but not altered. Such is Mr. Walter' s translation of Virgil's fourth ''Aeneid''.

(3)The third way is that of imitation, where the translator( if now he has not lost that name) assumes the liberty, not only to vary from the words and sense, but to forsake them both as he sees occasion; and taking some hints from the original, to run division on the groundwork, as he pleases. Such is Mr. Cowley' s practice in turning two Odes of Pindar, and one of Horace, into English.

Among the three translation methods, Dryden is most opposed to Ben Jonson' s word for word translation, that is, literal translation. It is considered that this translation method is like "tis much like dancing on ropes with fed legs", which mechanically imitates the original text, but can not be separated from the constraints of its grammar, sentence pattern and poetic rhythm, so that its semantics is obscure. As for the great freedom of imitation translation, the purpose of the translator is to imitate the previous works in subject content and literary form, neither translated words nor translated meaning. Therefore, literal translation and imitation translation are the two most extreme forms of translation, and translators should take warning. Free translation is the translation method advocated by Dryden. The so-called free translation means that the translator must have a limit of freedom. He should always see the author and not lose his way. From this point of view, Dryden insists that poetry translation must "translate poetry with poetry", that is, the person who translates poetry must be a poet, so that he can understand the charm of the original and better express it in the target language and aesthetic language.

The three classifications of Dryden' s translation have a great influence on the western translation theory in the 20th century. They are an indispensable part of western translation theory. His translation theory represents the peak of the development of English and criticism theory in the 17th century.

====3.4 Alexander Pope: Translation of Homer Epic====

Alexander Pope (1688-1744) is an important poet and translator in the Enlightenment period of the 18th century. His ''An Essay on Criticism'' (744 lines) is written in antithetical verses, expounds ( expounding, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]))the aesthetic principles of classical literature and art, and establishes Pope's position in the history of English literature. Pope became famous for translating Homer's epics and won a reward of 10000 pounds and a great reputation.

Pope's translation of Homer's epic is accused by translation critics of not rhyming and reading like an 18th century Englishman. In other words, Pope's translation of Homer's epic is not so much a reflection of Homer's style as Pope's own style. His translation is full of personal characteristics and idioms. But when discussing translation, Pope said that his translation is better than those full of translation cavity. His main translation views are recorded in the translation preface of the ''Iliad''. Pope's translation theory is very similar to Dryden' s: (1) he advocates free translation and maintains the beauty of poetry translation. (2) it is the sacred mission of the translator not to add or delete arbitrarily in translation. (3) the relationship between literal translation and free translation is dialectical. Literal translation can not reproduce the beautiful meaning of the original text, but it is wrong to make up for it by hasty free translation. (4) servile loyalty to the literal meaning will only damage the poetic style of the original text. (5) the plain and clear style of Homer's epic in modern language is not a lesson. Translation should reflect the main characteristics of the original: when talking about the beauty and defects of the original, we should talk about the translation, which is the embodiment of the main characteristics of it. As long as the main parts of the original poem show the contents such as fables, etiquette and emotion, no translator will save and compress them out of his own prejudice. The same is true for the translation of every image, description and simile. If we save too much translation, it will weaken the main characteristics of the original poem.

In Pope's view, the translator should not only grasp the characteristics of the original text, but also deal with the idioms and metaphors in Homer's epic, strive to reproduce the image of the original text, and can not be arbitrarily deleted due to personal prejudice. The beautiful and noble poetic features of the original text should also be reproduced in the translation. Pope is often criticized for some affectation and arbitrary play. The accusation of the former may be related to Pope's neoclassicism. Arbitrary play is a major feature of some humanist translators.

Generally speaking, Pope adopts the domestication translation method to explain, understand and translate the original work with the poetic concepts of the Enlightenment period, in order to maintain a smooth and natural poetic flavor in the target language. Compared with the other two translators of Homer's epics Chapman and R. lattinmore, Pope's translation is generally very neat and elegant, reproducing the style of neoclassicism. Chapman' s translation is beautiful, while the translation of R. lattinmore, a translator in the 20th century, is fresh and casual. In general, Pope's translation of Homer's epic is neat and reproduces Homer's poetic flavor, charm to a certain extent.

===4. The National and World Visions of Translation===

The 17th century to the 19th century is the climax of the development of modern western translation theory. A large number of writers and translators with world reputation have sprung up in Britain, France and Germany. Generally speaking, the free translation school originated in France in the 17th century and had a great influence on Britain. There were many innovations in translation theory in Britain from the 17th to the 18th century. The discussion at this stage mainly focused on the translation of classical poetry. In Germany, with the emergence of “Stum and Drang, Storm and Stress” and Romanticism in the 18th and 19th centuries, German Conservatism has showed up.

The 19th century, represented by the "Stum and Drang, Storm and Stress", is a period of great development of German Conservatism, represented by the "German Romanticism", which is also a stage of the transition of literary and artistic forms from classicism to Romanticism, which can also be said to be the romanticism in the naive period. The central representatives of this movement are the famous writers Goethe and Schiller. Goethe's ''The Troubles of Young Witt'' is the representative work of this period, expressing the conflict of human inner feelings and the spirit of striving. This movement lasted for nearly 30 years, from 1765 to 1795, and then was replaced by the mature romantic movement. A large number of linguists, writers and translation theorists such as Herder, Goethe, Humboldt, Schleiermacher, Holderlin and Schlegel came on stage one after another. They translated a considerable number of classical works of ancient Greece and Rome, also translated and introduced a large number of works of other European countries (such as the translation of Shakespeare's plays). German literature in this period has won a great reputation all over the world. Due to the participation of the above-mentioned literature, German translation activities and translation research have also reached an unprecedented zenith, which has laid a solid foundation for western translation theory in the 20th century.

====4.1 Language Shapes the National Identity: Johann Gottfried Herder and Wilhelm von Humboldt====

The humanistic thoughts sweeping the whole Europe, such as humanism, classicism, enlightenment, “Stum and Drang, Storm and Stress” and romanticism, make the relationship between European countries closer and closer. These movements provide important conditions and environment for the birth of translation theory. Herder and Humboldt demonstrated the relationship between language, translation and national identity from the perspective of language.

Johann Gottfried Herder (1744 - 1803) is a pioneer of the German rapid movement. As a forerunner of the enlightenment movement, Herder always focuses on how to use translation to transform German literature. In his opinion, the growth of German national literature is inseparable from translation. His views on translation are scattered on the origin of language, on the more recent German literature and other works. These views on language and translation have a great impact on language education and translation circles. From the perspective of language, he believes that speech is invented by man, and language represents rationality: "Without language, man has no reason and without reason no language." (Rousseau, Jean Jacques and John Gottfried Herder. ''On the Oringin of Language.'' Chicago : The University of Chicago Press, 1986, p. 121.) Herder's view of language nature opposes taking language as a simple tool and medium. He believes that language is a national organism, which can best reflect the national spirit and national soul (Volksgeist) , is the bond that forms the nation-state. Whoever loses his own language loses his identity and patriotism. Germans should be proud of their language and nation. Herder and Humboldt put forward that language determines thinking, which not only provides a basis for the self hypothesis theory two centuries later, but also gives a view of the uncertainty and untranslatability of translation buried the foreshadowing.

Herder opposes the deification of language and insists on explaining the generation of language from the perspective of naturalism. He believes that rationality is the key to the origin of language. He tries to provide a natural rather than reductionist explanation for human characteristics and creativity, and seeks the origin of language in human natural characteristics. Herder's natural reductionism is not only used to explain the origin of language, but also the power of natural interpretation is extended to all fields of culture to reflect the characteristics of human creation, such as art, religion, law, etc. Through the power of natural interpretation, they are included in a scientific world outlook. This language turning point fundamental. Its significance is that people begin to pay real attention to the problems of language itself, such as the essence of language, the relationship between language and rationality, how language can be expressed, etc. Then Humboldt inherited and developed Herder's view. Language blindness is no longer just a vassal of rationality, a simple tool. From then on, he began to get out of the influence of theology and gradually formed an independent philosophy of language.

Herder's views had a great impact on Humboldt.

Wilhelm von Humboldt (1767-1835) is the most influential linguist, philosopher and educational reformer in the West.

Humboldt's main translation views are:

(1) Language determines thought and culture. A language is the reflection of real life. Language has unique national characteristics, and the languages of different nationalities reflect their cultural characteristics. Different languages reflect the world outlook of different nationalities. It emphasizes the reaction of language to thinking: language determines thought and mode of thinking, and different languages have different schemata to understand the world. Translation consists of different languages and forms different language schemata. Therefore, equivalence in translation is impossible.

(2) The more you know a language, the greater the distance between nations. This is because different nations have different world views and different language habits. From this point of view, because we are aware of the great differences between different languages, we believe that it is impossible to achieve complete equivalence. Therefore, mutual translation between languages is impossible.

(3) Translation should deeply understand the era, atmosphere and character of the original author, and strive to avoid the obscure side of the translation and ensure the readability of the translation.

(4) The phonological beauty of poetry and drama translation must be maintained. Meter pattern is the key to all beauty.

Humboldt' s contribution to translation theory is that he is aware of the tension and contradiction of translation. He does not recognize the existence of a universal conceptual system beyond language boundaries. Therefore, his view of translation was interpreted as the representative of untranslatability in the 20th century. Because there are two meanings of "ubersetzen" and "dolmesschen" in German translation, "understanding" always carries "pre-understanding", that is, with personal subjective vision or prejudice, it is impossible to completely reach a consensus between different individuals. "Dolmesschen" let us have the opportunity to enter the commonness of language, which enables translation to cross specific social and cultural factors, and it is possible to understand each other between languages, so there is a reason to seek equivalence in translation. This is Humboldt' s dualism of language and translation.

====4.2 The Soaring Literary Translation: Johann Wolfgang Goethe and Friedrich Holdern====

Johann Wolfgang Goethe (1749-1832) is the greatest poet, translator and outstanding representative of Romanticism in Germany.

To sum up, Goethe believes that translation can be divided into three types.

(1) Facing different types of readers, we need different types of translation. In poetry and truth, he said, "if you want to influence the masses, a simple translation is always the best. Critical translations vying with the original really are of use only for conversations the learned conduct among themselves."(Lefevere, Andrew 1992: 75)

(2) Adaptation or imitation translation. "The second stage is that the translator translates contentedly according to his own wishes. Even if the translator tries to integrate himself into foreign situations, I would rather call this stage imitation stage."(Lefevere, Andrew 1992: 75)

(3) Pay attention to rhythmic literal translation sentence by sentence. Homer's ''Odyssey'' and ''Iliad'' translated by German Translator J. h. Voss made him famous overnight. His translation has beautiful rhythm and intonation and accurate choice of words and sentences. Although the public could not accept the strict literal translation rhythm at first, it gradually recognized it later. Goethe emphasizes that public taste can be shaped through translation.

Among all these three types of translation, Goethe most appreciates the literal translation that pays attention to rhythm, because as a poet, he takes into account the poetic characteristics such as meter pattern and rhythm, which are the true qualities of the original author. Goethe mentioned two principles of Translation: first, foreign writers move closer to the target language, so that his works look the same as the target language writers; Second, readers cross the border to adapt to foreign customs and language characteristics.

Goethe's translation theory is based on his romantic aesthetics. He believes that literal translation can not only convey the information of the original text, but also express the beauty of the translation.

Friedrich Holderlin (1770-1843) is the greatest lyric poet in the German Romantic period.

Holderlin advocates that every language of human beings is derived from the same basic language form, that is, what Benjamin called "pure language". Not only translation, but also creation should return to this ancient source. In translation practice, translators should adhere to literal translation, reflecting the heterogeneity of the original text. In modern poetics and translation studies, Holderlin' s language ontology is mainly based on the view of looking for "words beyond speech". This literal translation brings, of course, lexical obscurity, and Holderlin believes that the more obscure the translation, the more enlightening the tension. This poetic dialectics undoubtedly has a mystical point of view. It is very interesting that in the 20th century, people talked most about the essence of translation. The main point of view related to the essence of translation comes from Holderlin, a "firm guardian of letters" of the literal translation school. He created endless topics for translation. To some extent, Holderlin is the prophet of contemporary translation theory.

===5. Conclusion===

To sum up, as an important stage in the development of Western culture, humanistic trend cannot show up without the practice of cultural translation. As a part of the social thought at that time, translation thought is related to the social and cultural context in that period. Like other social trends at that time, translation thoughts in the period of the Renaissance and the Religious Reformation have played an important role in the evolution of the history of western translation, both returning to the original period and moving towards the new era. Humanistic trend is a turning point in the history of western translation. In short, the emergence of humanistic trend on the historical stage indicates that translation practice and theory have broken away from the "dark" Middle Ages and makes a huge step forward".

===References===

Lefevere, Andrew. eds. (1992) Translation/History/Culture: A Source Book. London : Routledge.

Munday, Jeremy. (2001) Introducing Translation Studies : Theories and Applications. London/New York : Routledge.

Robinson, Douglas. (1997) Western Translation Theory : from Herodotus to Nietzsche. Manchester : St. Jerome Publishing.

Rousseau, Jean Jacques and John Gottfried Herder. (1986) On the Oringin of Language. Chicago : The University of Chicago Press.

Wang Zuoliang, He Qishen 王佐良、何其莘(1996). 英国文艺复兴时期文学史 A History of English Renaissance Literature. 北京：外语教学与研究出版社 Beijing: oreign Language Teaching and Research Press.

Wang Zuoliang, He Qishen 王佐良，何其莘(1994). 英国文艺复兴时期的文学史 A History of English Renaissance Literature 北京：外语教学与研究出版社 Beijing: oreign Language Teaching and Research Press.

Written by --[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 08:38, 9 December 2021 (UTC)

Hist Trans Theo EN 12

2021-12-13T11:20:52Z

Wei Zhaoyan: /* 2.2 Martin Luther: the Tongue of the Common Man */

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=12 魏兆妍 The Humanistic Trend in Western Translation Theory from the 14th to the 19th Century=
[[Hist_Trans_Theo_EN_12]]

'''The Humanistic Trend in Western Translation Theory from the 14th to the 19th Century'''

Wei Zhaoyan 魏兆妍 Hunan Normal University, China

===Abstract===
From the 14th century, Europe began to enter into the Renaissance, and the Christian world view gradually degenerated with the emergence of individual centered humanism. People who submitted to God were regarded as rational and unique individuals, emphasizing their creative potential and giving full play to their talents. With the invention of printing in the 15th century, education and schools began to be open to the public. Reading translated works from different countries was no longer a noble enjoyment. Words and information were transmitted in all directions and more quickly through translation. Translation was called the forerunner of the Renaissance. It can be said that without translation, there would be no European Renaissance and humanistic thought( the European Renaissance and humanistic thoughts didn’t appear, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]])) In Europe, the writers, thinkers and scholars in this period were also translators who knew several languages, ( and we can see that, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]])) translation and creation were closely linked. This paper will focus on the humanistic trend in western translation theory from the 14th to the 19th century, and will also enumerate the representative figures and their translation ideas in this period.

===Key words===
Humanistic trend, Western translation theory, Poetics of translation, National and world visions

===1. Introduction===

From the 14th century, Europe began to enter into the Renaissance. Dante, the last poet in the middle ages, completed ''The Divine Comedy'' in 1321. In Dante's mind, all human life experience, including life and death, must be explained by Christian faith in order to show its meaning and significance. This Christian worldview gradually degenerated with the emergence of individualism-centered humanism. All beings who submitted to God were regarded as rational, unique and creative individuals. In the past years, translators were servants attached to God. Now they have shifted from God to focusing on the translator. Personal development has become the goal and value of life. Although humanist thinkers, writers and translators still maintain the Christian faith, they put more emphasis on personal creative potential and give full play to people's strengths. The focus of translation activities in this period also shifted from the classics of the Christian Church to the translation of more secular humanistic works.

With the invention of printing in the 15th century, education and schools began to be open to the public. Reading translated works from different countries was no longer a noble enjoyment. Through the wings of translation, words and information were transmitted in all directions and more quickly. For example, Marco Polo (1254-1324) told the story of his travels in China, which spread all over the European continent through printed words. The invention of printing not only brought about a cultural revolution, but also a sharp increase in the number of translations. Translation is known as the forerunner of the Renaissance. It can be said that without translation, there would be no European Renaissance and humanistic thought. Take the role of translation in English literature for example: "Translation played a great role in the British Renaissance: first, as a pioneer, it was countless translated works that first caused the mental climate of humanism. Second, translation was still active in the era of the restoration of the king's government, but attention has turned to French works. In the intervening years, that is, in the half century from 1558 to 1603 when Queen Elizabeth was in office, translation activities were more frequent, and famous translations also appeared the most frequently, which constituted a translation climax in the whole history of English literature. " (Wang Zuoliang, He Qishen. A History of English Renaissance Literature. Beijing: ''Language Teaching and Research Press'', 1996, p. 72.）In the Queen Elizabeth era, translation reached an unprecedented prosperity, and good translations of famous works continued to emerge. In the following 17th to 18th centuries, neoclassical literary translation surpassed the previous stage. Translation was particularly important to the development of modern English language, literature and culture.

In Europe, the writers, thinkers and scholars in this period were translators who knew several languages, translation and creation were closely linked. A large number of scholars and poets have expressed their opinions on translation. From the 14th to the 16th century, the most representative was Dante's "untranslatability of literature" in Italy (1265-1321); Erasmus of the Netherlands (1466 - 1536) relied on the translator's language knowledge in the translation of ''The Bible''; The translation of German Luther (1482 - 1546) must adopt the language of the people; The translators in Dore’ s mind (1509-1546) in France must understand the original content, be proficient in two languages, avoid word for word translation, adopt popular form and pay attention to the "five translation principles" of beautiful style; Poetry translation in English Chapman' s(1559-1634) mind can not be stiff translation, and the poetry translation method of "rebuilding a new image" can be used.

From the 17th to the 19th century, the representative figures were as follows. Abranco of France: the translation method of “the beautiful unfaithful ones” which emphasized literariness and readability; Bartow (1731-1780) : accurate translation view of "the author is the master and the translator is the servant"; Dryden (1747-1841) of England: three translation principles of "literal translation, free translation and imitation translation"; Tytler (1747-1814): three translation principles of "the translation must completely reproduce the thought of the original work: the style and tone of the translation must be consistent with the characteristics of the original; the translation must be as smooth as the original." ; Humanistic thinker Herder (1744-1830) of German Romanticism: made a pioneering thinking on the language, nationality and the characteristics of relativism in translation. Goethe (1749-1832) of German: called the translator as "the prophet of the people"; Humboldt (1767-1835): expressed the views on translatability and untranslatability which had a great impact on the 20th century. The foreignization translation method of Schleiermacher (1768-1834) in the later stage has influenced the deconstructive translation theory of the 20th century. For the above representative figures and different translation views, this paper will focus on the humanistic trend and enumerate some of the representatives according to the development sequence of the history of western translation theory.

===2. The "Rebels" Who Change the Traditional Concept of Translation===
Since Jerome, the debate between literal and free translation has begun in the west. The dispute between them actually involves the question of whether translation should be equivalent to the original text, that is, faithfulness, which is also a thread running through western translation theory for more than 2000 years. Since the Renaissance, people have become more and more aware of their own subjectivity, but religious influence is everywhere all the time. As a translator, if he has any unconventional translation behavior, he may be persecuted by spirit and body, even lead to death. A history of western translation can be said to be written in the life and blood of translators to a certain extent.

Between 1536 and 1546, three translators died. Two of them were caused by translation work. They were French translation theorist Dolet, religious reformer and translator Martin Luther as well as British translator William Tyndale.
====2.1 Etiene Dolet: Five Principles of Translation====
In the history of western translation theory, the first humanist to systematically expound translation theory was Etiene Dolet(1509-1546). Dolet is a translator, printer and scholar. He is the first translator suffering from translation since the Renaissance. He is a learned, versatile and liberated translator. His interpretation of classics was regarded as walking between orthodoxy and paganism. The European Church has advocated for a long time that the translation of ''The Bible'' should be literal translation, especially the Roman Catholic Church supported the "correct" and conventional translation of ''The Bible'' . Any interpretation and translation that deviated from the classics may be regarded as heresy, criticized and prohibited, and some adventurous interpreters and translators suffered a horrible fate. In 1546, the Theological Seminary of Sorbonne University in France identified that Dolet added the phrase "whereas you will no longer be anything at all" without foundation in the translation of a paragraph about "existence after human death" in Plato's dialogue ''Axiochus'', then he was burned alive at the stake. This paragraph is as follows:

The original text in Greek: Hoti peri men tous zôntas ouk estin, hoi de apothanontes ouk eisin. hôste oute peri se nun estin, ou gar tethnêkas oute ei ti pathois, estai peri se su gar ouk esei.

The French translation by Dolet: Pour ce qu'il est certain que la mort n'est point aux vivants: et quant aux defuncs, ilz ne sont plus: donques la mort les atouches encore moins. Parquoy elle ne peult rien sur toy, car tu n'est pas encores prest à deceder; et quand tu seras décédé, elle n'y pourra rien aussi，attendu que tu ne seras plus ''rien du tou''. (The text in sixteenth century cited by Ballard and Copley Christie)

The translation in English:Since it is certain death is not at all among the living: and as for the dead, they no longer are: therefore, death touches them even less. And hence death can do nothing to you, for you are not yet ready to die, and when you have died, death will also not be able to do anything, since you will no longer be ''anything at all''.

This paragraph by Plato is an obvious atheist view. It is close to the meaning of "how can you know death when you don't know life" (''The Analects of Confucius''). The original Greek version is abstruse and difficult to understand, and there are omissions in many places. It can't be translated without adding cohesive devices. The three words added in italic French and English in the text only play a role in connecting and do not change the meaning of the original text. Dolet's addition was accused of "blasphemy", because such translation was accused of "denying the eternity of the soul", and it was precisely because he "made" this fatal translation "mistake" that he was burned at the age of 37. This accusation was a typical "unnecessary" accusation. As a translator, Dolet only translated the meaning of the original text and did not understand it improperly. The key was that Plato described Aristotle's conversation, Sorbonne's clergy could not blame Plato, so they had to blame Dolet for adding the three French words “rien du tout” (nothing at all) , because these three words could not be found in Greek or Latin, the church accused him of misunderstanding Plato's intention, blaspheming the gods and not believing in eternity. So, the risk of translation arises.

Because Dolet was persecuted by the clergy to death, his "five principles on translation" was cherished by the western translation field. Dolet's "five principles on translation" came from ''The Way of Translating Well from One Language into Another'' (1540) The excerpts of the original text are as follows:

To translate well from one language into another requires in the main five things:

(1)In the first place, the translator must understand perfectly the sense and matter of the author he is translating, although he should feel free to clarifty obscurities.

(2)The translator should have a perfect knowldgwe of boh SL and IL, so as not to lessen the majesty of the language.

(3) The translator should avoid word for word renderings.

(4)The translator should avoid Latinate and unusual forms.

(5)The translator should assemble and liaise words eloquently to avoid clumsiness.(Robinson, Douglas. ''Western Translation Theory : from Herodotus to Nietzsche''. Manchester : St. Jerome Publishing, 1997, pp.95~96.)

From the five translation principles put forward by Dolet, he advocated free translation, especially he didn't advocate rigid literal translation and paid attention to the beauty of the translation. Articles 1 and 2 can be regarded as the necessary conditions for translators. The latter three advocate that translators should use fresh language expressions, avoid using rare Greek or Latin words, but use natural and fluent forms in the target language in order to improve the social status and influence of French, Italian, German and Spanish after the disintegration of Latin. These five principles emphasized that the translator cannot follow the master like a slave, being obedient and using word for word translation method which show that the translator is poor in skills and lacks rich lexical expression. In Dolet's view, translation is the translation of meaning, not words. In order to express the author's intention, the translator has the right to adjust and reverse the sentence pattern of the translation.

====2.2 Martin Luther: the Tongue of the Common Man====

Martin Luther (1483-1546) is a German religious reformer and translator in the 16th century. As a translator of the German version of ''The Bible'', he is known as the father of German language and literature. His discussion on translation is mainly recorded in ''The Circular Letter''(1530).

For hundreds of years, people have been used to going to church to listen to ''The Bible'', because under the control of Catholicism, ordinary people have no right to read it by themselves. Luther's translation of the obscure Latin ''Bible'' into contemporary popular German is a great revolution, which is as valuable as his religious revolution. When he translated the language of God into contemporary German, he hoped that the German version of the book would be converted into different dialects, put in people's hands and enter into everyone's heart. Once ''The Bible'' translated by Luther was published, ordinary people directly heard the call of God. Luther believed that the German version he translated must be clear and easy to understand. Therefore, he systematically formulated the translation principles. This popular and fluent translation method aimed to be free from the influence of previous established translations, because free translation was also a weapon for Luther to resist the church. His main translation principles are:

(1) The purpose and the original text that the reader cannot understand should be translated freely.

(2) When translating, we should give priority to the meaning and subject content of the text, and don't stick to the grammar of the original text.

(3) Try to use a language that is easy to understand by ordinary people.

(4) Metaphors and idioms in rhetoric can be translated into non figurative language.

(5) Adhere to the reader centered orientation.

In the use of the target language, Luther did not sanctify the target language, but broke the symbol system of it. Sometimes in order to inject vitality, Luther used the people's oral language to break the coherence of the target language and pay attention to people's personal understanding and personality, which undoubtedly strengthened the social communication of the translation. However, the fluency of the translation was not at the expense of the accuracy. Luther's Bible was also very accurate in information transmission. Because the language used by Luther in translating the Bible was a vivid language loved by the people, his translation was welcomed by the people, and has been spread for a long time. Luther's basic translation principle was “You must ask the mother at home，the children in the street, the ordinary man in the market and look at their mouth, how they speak,and translate that way; then they'll understand and see that you’re speaking to them in German.“ So, easy to understand was the most fundamental purpose of Luther's translation. (Munday, Jeremy 2001: 38.)

====2.3 William Tyndale: A Men Who Has Dedicated His Life to Translation====

During the Renaissance, the Englishman who died for translation is William Tyndale (1494 - 1536). He is the most influential Bible translator in the English language. The three most famous Bibles ——''Geneva Bible'', ''The Douay-Rheims Bible'' and ''The King James' Bible'' in the 16th and 17th centuries are all influenced by the translation of ''Tyndale Bible'', especially ''The King James' Bible''.

Tyndale was born in Gloucestershire, England. He studied at Oxford University in his early years and taught at Cambridge University after graduation. Cambridge's humanistic thought shaped his religious thought. He believed that since religious teachings and practices come from ''The Bible'', it is necessary for British people to read it in their own mother tongue. Inspired by Martin Luther's experience in translating the German version of it, Tyndale was determined to translate an English Bible. At that time, the British Conservatives led by Moore insisted that the law stipulated that the unauthorized translation of ''The Bible'' was punishable by death. Because Tyndale was persecuted by the British church, he had to flee to Germany, where religion was relatively free, to work as a translator. As a humanist, Tyndale exposed the hypocrisy of European religion. The church accused him of "weaving love and vain history and fables to poison young people". In 1536, Tyndale was arrested and burned. All in all, Tyndale's translated works were concise and simple, using popular English words and expressions, which pioneered the generation of English translation of ''The Bible''.

What the enumerated translators have in common is that in order to spread knowledge and distinguish truth, they bravely explore the road that predecessors have not gone through, and can devote their whole life to the sacred cause of translation. At the same time, it can also be said that their translation experience and principles are written with blood and life.

===3. The Incarnation of Muse: Poetics of Translation===
Muse (Μουσαι in Greek, muses in Latin) is the general name of the goddess of science and art in ancient Greek mythology. It was born of the god Zeus and Mnemosyne, the goddess of memory. The number of Muses is uncertain, some people say there are three goddesses and others nine goddesses. Since the Renaissance, European poets, like stars, have lit the sky over Europe. These poets not only make poetry, but also translate classical poetry, seek inspiration from traditional literature and summarize poetry translation theory. This spectacle is unprecedented.

Western classical translation focuses on the works of ancient Greek and Roman poets Homer, Virgil and Ovid. These translations have greatly improved the form and content of European countries, especially British poetry art, and brought new creative techniques and skills. For example, the introduction of English poetry should first be attributed to the translation of sonnets. The original form of fourteen line lyric poem originated from Italy is abbaabba, cdecde (the last six lines can also be cdcdcd). This poetic style has been translated and introduced by Surrey, and then improved by Spencer and Shakespeare to become the English sonnet (abab eded efef gg).

Muse, the goddess of literature and art in the west, is fond of English poets. The translation works of Chapman, Dryden, Pope, Shelley and other poets fully reflect the principle of "translating poetry in the poetic way". Their poetry translation practice and theory have been perfectly combined to form a unique literary translation theory.
====3.1 George Chapman: Decorate the Translation with Beautiful Words====
George Chapman (1559-1634) is an English poet, dramatist and translator. Chapman is famous for translating Homer's ''Iliad'' and ''Odyssey''. His translation inspires the British poet John Keats more than a century later (1815), so he writes ''On First looking into Chapman's Homer'', which becomes a masterpiece through the ages.

He worshipped the warrior hero of the Agamemnon family in Greek mythology all his life, which can be seen in his works. This is one of the reasons why he chose to translate Homer's works. In 1611, he completed the translation of the ''Iliad'' in sonnets. In 1616, he finished translating the ''Odyssey'' in the poetic style of heroic antithesis. His translation has become one of the most popular works in the history of English literature and played a connecting role in the history of literature. For 200 years after its publication, its translation has been the standard English translation of Homer's works. Chapman's theory of translation criticism can be seen from his translation of the preface written in the ''Iliad'':

That those translators stick in, that affect

Their word-for word traditions( where they lost )

The free grace of their natural dialect,

And shame their authors with a forced gloss)

More license from the words than may express

Their full compression, and make clear the author;

From whose truth, if you think my feet digress,

Because I use needful paraphrases...

( Extract from The Preface to the Reader of the Translation of ''Iliad'')

From Chapman' s translation practice and theory, there are several principles worth summarizing: (1) adhere to translating poetry in poetic way. (2) oppose word for word translation and focus on free translation. (3) adopt the "interpretation" method, advocate that the translation should be decorated. (4) translator should try to show the author's intention. Chapman pays equal attention to translation practice and theory. On the one hand, he pays attention to summarizing translation experience, on the other hand, he has clear principles as translation guidance. At the same time, the deep study of Homer's works and the poetic flavor of poetry are also the reasons for his success. Now let's take a look at a passage in his translation of the ''Iliad'':

All grave old man, and soldiers they had been, but for age

Now left the wars; yet Counselors they were exceeding sage

And as in well grown woods, on trees, cold spinier grasshoppers

Sit chirping and send voices out that scarce can piece our ears

For softness and their weaker faint sounds; so( talking on the tower )

These Seniors of the people sat, who, when they saw the power

Of beauty in the Queen ascend, even those cold-spirited peers,

Those wise and almost withered men, found this heat in their years

That they were forced( though whispering )to say: what men can blame.

The Greeks and Trojans to endure, for so admired a Dame,

So many miseries, and so long? (''Iliad'', iii, 159-169)

Chapman’ s translation was concrete and vivid, with abundant emotion. His rhythm was infectious. (Wang Zuoliang, He Qishen. ''A History of English Renaissance Literature''.Beijing: oreign Language Teaching and Research Press, 1994, p. 85.) However, the addition method of Chapman was often criticized. For example, Homer asked Hector to say, "For well I know this in my mind and in my heart, the day will be, when scaled Troy shall perish." Chapman' s poem is:

And such a stormy day shall come，in mind and soul I know，

When scared Troy shall shed her towers, for tears of overthrow.

The translation is rhyming, antithetical and neat, but "mind and soul", "storm", "towers" and "teams" are added. Optimistically,the translator has rich imagination. Negatively, the translator's fantasy destroys faithfulness. In any case, Chapman' s translation style is magnificent and beautiful, reflecting the gorgeous rhetoric of the Renaissance translation and the translator's deep literary foundation. No wonder Keats felt like "seeing a new star surge into the horizon" . Homer's style is fresh, simple, clear, direct, vivid and powerful. Chapman strives to reproduce Homer's epic features in diction, sentence making and style. He has practiced poetry translation and summed up translation theory. This was rare in England from the 16th to 17th centuries: "the task of a competent and valuable translator is to abide by the sentences, rhetoric and language forms used by his original author, abide by his true meaning and depth, and then decorate them with rhetoric and language forms suitable for the language of the translation itself." (Wang Zuoliang, He Qishen. ''A History of English Renaissance Literature''.Beijing: oreign Language Teaching and Research Press, 1994, p. 82.)

Nevertheless, because Chapman translated Homer's epic in sonnets and tried to create something in phonology, the sonnets still did not conform to the style of Homer's epic, but they made some progress compared with Milton's translation with blank poems. Chapman also translated Ovid' s ''Feast of Sound and Color'' . His free translation method can fully reflect the deep meaning of the original work and was the best way to translate Homer's poetry. Chapman regarded the translation of Homer's epic as a major event in his life and believed that he was born to translate Homer's epic. His poetry translation theory filled the gap of translation theory in the late 16th century and has been inherited and developed by poetry translators from the 17th to 18th centuries.

====3.2 John Denham: Fluent Poetry Translation====

John Denham (1615 - 1669) is the most famous poet and translator in England in the mid-17th century. When he was young, he went to Oxford to study law, but he never worked as a attorney. He becomes famous because he translated the epic ''Aeneas'' written by Virgil, an ancient Greek tragedy. Later, his poetry also makes him famous in the literary world.

Denham' s translation theory is mainly reflected in his two articles on translation. One is ''To Sir Richard Fanshawe upon his translation of pastor Fido'' (1648), and the other is The preface of his translation of Aeneas, ''The Destruction of Troy'' (1656) He believes that art expresses nature in a harmonious and elegant way, so the translator should go beyond the constraints of form and create a novel translation. The translation of literary works is different from the translation of religious and disciplinary works, the former can be less faithful, and the translation of ''Aeneas'' adopts the method of translating poetry in the poetic way, pays attention to the legal effect of poetry, and has achieved good results.

Specifically, Denham' s translation theories include:

(1) Denham follows a "neoclassicism" path ". The translation method pursues a new translation method, that is, the translator should innovate, especially in the charm of poetry. Translation should give full play to the advantages of the target language. This process of using the target language to accultrate the original text is also the domestication translation method. This innovative translation method is deeply influenced by the free translation method advocated by France in the 17th century, that is, the translation should be beautiful. Although Denham pursues the elegance and beauty of his translation, his translation is basically faithful. His free translation mainly focuses on the artistic conception or "poetry for poetry", rather than the translated vocabulary.

(2) Denham believes that the translator and the author enjoy the same status. As a poet and translator, he believes that the translator has the right to extract the core part from the original text and recreate it in the target language. If there is a key word in Denham's translation theory, it is "fluency", as if the translation is not like the translation, but more like creation. In this way, the sentence pattern of the original text can be rewritten, the unclear meaning can be clarified, the smooth poetic rhythm and form can be used, the irregular structure can be avoided, and the pause can be used to strengthen the coherence of poetic sentence patterns. Denham' s fluent translation makes people feel that reading his translation is not reading the translation, but reading the original English work. Therefore, he is known as "Virgil" in Britain.

(3) The translator has his own choice and motivation. Denham chooses the free translation method and the translation of ''Aeneas'' has its own purpose: the relationship between the king and his descendants in the Trojan story will remind the reader of Britain at that time. He hopes to give cultural support to the English monarch through the translation of such a work. There is an imaginary connection between Troy's pedigree and the defeated Caroline government at that time. This kind of ideological manipulation and rewriting confirms his translation It serves the royalists. Therefore, his translation is very flexible and has more freedom than other translators.

====3.3 John Dryden: Three Principles of Translation====

John Dryden (1631 - 1700), an English poet, translator and dramatist, is the most influential critic in Britain in the 17th century. His literary criticism has influenced the following two centuries. As a translation theorist, his discourse on translation is considered to be the most systematic in western translation theory before the 17th century.

The three translation types (1680) divided by Dryden and the three translation principles (1797) of Tytler all advocated to talk about translation in civilian rather than pretentious academic language, which is why their translation theory is still used today. As the "the first translation theorist" so far, Dryden' s translation views were mainly reflected in the translation of the ''Preface to Ovid' s Epistles''. Dryden classified three types of translation as follows:

All translations,I suppose, may be reduced to these three heads.

(1)Fist( At first, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]])), that of metaphrase，or turning an author word by word, and line by line, from one language into another. Thus, or near this manner, was Horace his ''Art of Poetry'' translated by Ben Jonson.

(2)The second way is that of ( delate that of, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]))paraphrase, or translation with latitude, where the author is ( delate “is” , corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]))kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that too is (it is admitted to, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]))admitted to be amplified, but not altered. Such is Mr. Walter' s translation of Virgil's fourth ''Aeneid''.

(3)The third way is that of imitation, where the translator( if now he has not lost that name) assumes the liberty, not only to vary from the words and sense, but to forsake them both as he sees occasion; and taking some hints from the original, to run division on the groundwork, as he pleases. Such is Mr. Cowley' s practice in turning two Odes of Pindar, and one of Horace, into English.

Among the three translation methods, Dryden is most opposed to Ben Jonson' s word for word translation, that is, literal translation. It is considered that this translation method is like "tis much like dancing on ropes with fed legs", which mechanically imitates the original text, but can not be separated from the constraints of its grammar, sentence pattern and poetic rhythm, so that its semantics is obscure. As for the great freedom of imitation translation, the purpose of the translator is to imitate the previous works in subject content and literary form, neither translated words nor translated meaning. Therefore, literal translation and imitation translation are the two most extreme forms of translation, and translators should take warning. Free translation is the translation method advocated by Dryden. The so-called free translation means that the translator must have a limit of freedom. He should always see the author and not lose his way. From this point of view, Dryden insists that poetry translation must "translate poetry with poetry", that is, the person who translates poetry must be a poet, so that he can understand the charm of the original and better express it in the target language and aesthetic language.

The three classifications of Dryden' s translation have a great influence on the western translation theory in the 20th century. They are an indispensable part of western translation theory. His translation theory represents the peak of the development of English and criticism theory in the 17th century.

====3.4 Alexander Pope: Translation of Homer Epic====

Alexander Pope (1688-1744) is an important poet and translator in the Enlightenment period of the 18th century. His ''An Essay on Criticism'' (744 lines) is written in antithetical verses, expounds ( expounding, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]))the aesthetic principles of classical literature and art, and establishes Pope's position in the history of English literature. Pope became famous for translating Homer's epics and won a reward of 10000 pounds and a great reputation.

Pope's translation of Homer's epic is accused by translation critics of not rhyming and reading like an 18th century Englishman. In other words, Pope's translation of Homer's epic is not so much a reflection of Homer's style as Pope's own style. His translation is full of personal characteristics and idioms. But when discussing translation, Pope said that his translation is better than those full of translation cavity. His main translation views are recorded in the translation preface of the ''Iliad''. Pope's translation theory is very similar to Dryden' s: (1) he advocates free translation and maintains the beauty of poetry translation. (2) it is the sacred mission of the translator not to add or delete arbitrarily in translation. (3) the relationship between literal translation and free translation is dialectical. Literal translation can not reproduce the beautiful meaning of the original text, but it is wrong to make up for it by hasty free translation. (4) servile loyalty to the literal meaning will only damage the poetic style of the original text. (5) the plain and clear style of Homer's epic in modern language is not a lesson. Translation should reflect the main characteristics of the original: when talking about the beauty and defects of the original, we should talk about the translation, which is the embodiment of the main characteristics of it. As long as the main parts of the original poem show the contents such as fables, etiquette and emotion, no translator will save and compress them out of his own prejudice. The same is true for the translation of every image, description and simile. If we save too much translation, it will weaken the main characteristics of the original poem.

In Pope's view, the translator should not only grasp the characteristics of the original text, but also deal with the idioms and metaphors in Homer's epic, strive to reproduce the image of the original text, and can not be arbitrarily deleted due to personal prejudice. The beautiful and noble poetic features of the original text should also be reproduced in the translation. Pope is often criticized for some affectation and arbitrary play. The accusation of the former may be related to Pope's neoclassicism. Arbitrary play is a major feature of some humanist translators.

Generally speaking, Pope adopts the domestication translation method to explain, understand and translate the original work with the poetic concepts of the Enlightenment period, in order to maintain a smooth and natural poetic flavor in the target language. Compared with the other two translators of Homer's epics Chapman and R. lattinmore, Pope's translation is generally very neat and elegant, reproducing the style of neoclassicism. Chapman' s translation is beautiful, while the translation of R. lattinmore, a translator in the 20th century, is fresh and casual. In general, Pope's translation of Homer's epic is neat and reproduces Homer's poetic flavor, charm to a certain extent.

===4. The National and World Visions of Translation===

The 17th century to the 19th century is the climax of the development of modern western translation theory. A large number of writers and translators with world reputation have sprung up in Britain, France and Germany. Generally speaking, the free translation school originated in France in the 17th century and had a great influence on Britain. There were many innovations in translation theory in Britain from the 17th to the 18th century. The discussion at this stage mainly focused on the translation of classical poetry. In Germany, with the emergence of “Stum and Drang, Storm and Stress” and Romanticism in the 18th and 19th centuries, German Conservatism has showed up.

The 19th century, represented by the "Stum and Drang, Storm and Stress", is a period of great development of German Conservatism, represented by the "German Romanticism", which is also a stage of the transition of literary and artistic forms from classicism to Romanticism, which can also be said to be the romanticism in the naive period. The central representatives of this movement are the famous writers Goethe and Schiller. Goethe's ''The Troubles of Young Witt'' is the representative work of this period, expressing the conflict of human inner feelings and the spirit of striving. This movement lasted for nearly 30 years, from 1765 to 1795, and then was replaced by the mature romantic movement. A large number of linguists, writers and translation theorists such as Herder, Goethe, Humboldt, Schleiermacher, Holderlin and Schlegel came on stage one after another. They translated a considerable number of classical works of ancient Greece and Rome, also translated and introduced a large number of works of other European countries (such as the translation of Shakespeare's plays). German literature in this period has won a great reputation all over the world. Due to the participation of the above-mentioned literature, German translation activities and translation research have also reached an unprecedented zenith, which has laid a solid foundation for western translation theory in the 20th century.

====4.1 Language Shapes the National Identity: Johann Gottfried Herder and Wilhelm von Humboldt====

The humanistic thoughts sweeping the whole Europe, such as humanism, classicism, enlightenment, “Stum and Drang, Storm and Stress” and romanticism, make the relationship between European countries closer and closer. These movements provide important conditions and environment for the birth of translation theory. Herder and Humboldt demonstrated the relationship between language, translation and national identity from the perspective of language.

Johann Gottfried Herder (1744 - 1803) is a pioneer of the German rapid movement. As a forerunner of the enlightenment movement, Herder always focuses on how to use translation to transform German literature. In his opinion, the growth of German national literature is inseparable from translation. His views on translation are scattered on the origin of language, on the more recent German literature and other works. These views on language and translation have a great impact on language education and translation circles. From the perspective of language, he believes that speech is invented by man, and language represents rationality: "Without language, man has no reason and without reason no language." (Rousseau, Jean Jacques and John Gottfried Herder. ''On the Oringin of Language.'' Chicago : The University of Chicago Press, 1986, p. 121.) Herder's view of language nature opposes taking language as a simple tool and medium. He believes that language is a national organism, which can best reflect the national spirit and national soul (Volksgeist) , is the bond that forms the nation-state. Whoever loses his own language loses his identity and patriotism. Germans should be proud of their language and nation. Herder and Humboldt put forward that language determines thinking, which not only provides a basis for the self hypothesis theory two centuries later, but also gives a view of the uncertainty and untranslatability of translation buried the foreshadowing.

Herder opposes the deification of language and insists on explaining the generation of language from the perspective of naturalism. He believes that rationality is the key to the origin of language. He tries to provide a natural rather than reductionist explanation for human characteristics and creativity, and seeks the origin of language in human natural characteristics. Herder's natural reductionism is not only used to explain the origin of language, but also the power of natural interpretation is extended to all fields of culture to reflect the characteristics of human creation, such as art, religion, law, etc. Through the power of natural interpretation, they are included in a scientific world outlook. This language turning point fundamental. Its significance is that people begin to pay real attention to the problems of language itself, such as the essence of language, the relationship between language and rationality, how language can be expressed, etc. Then Humboldt inherited and developed Herder's view. Language blindness is no longer just a vassal of rationality, a simple tool. From then on, he began to get out of the influence of theology and gradually formed an independent philosophy of language.

Herder's views had a great impact on Humboldt.

Wilhelm von Humboldt (1767-1835) is the most influential linguist, philosopher and educational reformer in the West.

Humboldt's main translation views are:

(1) Language determines thought and culture. A language is the reflection of real life. Language has unique national characteristics, and the languages of different nationalities reflect their cultural characteristics. Different languages reflect the world outlook of different nationalities. It emphasizes the reaction of language to thinking: language determines thought and mode of thinking, and different languages have different schemata to understand the world. Translation consists of different languages and forms different language schemata. Therefore, equivalence in translation is impossible.

(2) The more you know a language, the greater the distance between nations. This is because different nations have different world views and different language habits. From this point of view, because we are aware of the great differences between different languages, we believe that it is impossible to achieve complete equivalence. Therefore, mutual translation between languages is impossible.

(3) Translation should deeply understand the era, atmosphere and character of the original author, and strive to avoid the obscure side of the translation and ensure the readability of the translation.

(4) The phonological beauty of poetry and drama translation must be maintained. Meter pattern is the key to all beauty.

Humboldt' s contribution to translation theory is that he is aware of the tension and contradiction of translation. He does not recognize the existence of a universal conceptual system beyond language boundaries. Therefore, his view of translation was interpreted as the representative of untranslatability in the 20th century. Because there are two meanings of "ubersetzen" and "dolmesschen" in German translation, "understanding" always carries "pre-understanding", that is, with personal subjective vision or prejudice, it is impossible to completely reach a consensus between different individuals. "Dolmesschen" let us have the opportunity to enter the commonness of language, which enables translation to cross specific social and cultural factors, and it is possible to understand each other between languages, so there is a reason to seek equivalence in translation. This is Humboldt' s dualism of language and translation.

====4.2 The Soaring Literary Translation: Johann Wolfgang Goethe and Friedrich Holdern====

Johann Wolfgang Goethe (1749-1832) is the greatest poet, translator and outstanding representative of Romanticism in Germany.

To sum up, Goethe believes that translation can be divided into three types.

(1) Facing different types of readers, we need different types of translation. In poetry and truth, he said, "if you want to influence the masses, a simple translation is always the best. Critical translations vying with the original really are of use only for conversations the learned conduct among themselves."(Lefevere, Andrew 1992: 75)

(2) Adaptation or imitation translation. "The second stage is that the translator translates contentedly according to his own wishes. Even if the translator tries to integrate himself into foreign situations, I would rather call this stage imitation stage."(Lefevere, Andrew 1992: 75)

(3) Pay attention to rhythmic literal translation sentence by sentence. Homer's ''Odyssey'' and ''Iliad'' translated by German Translator J. h. Voss made him famous overnight. His translation has beautiful rhythm and intonation and accurate choice of words and sentences. Although the public could not accept the strict literal translation rhythm at first, it gradually recognized it later. Goethe emphasizes that public taste can be shaped through translation.

Among all these three types of translation, Goethe most appreciates the literal translation that pays attention to rhythm, because as a poet, he takes into account the poetic characteristics such as meter pattern and rhythm, which are the true qualities of the original author. Goethe mentioned two principles of Translation: first, foreign writers move closer to the target language, so that his works look the same as the target language writers; Second, readers cross the border to adapt to foreign customs and language characteristics.

Goethe's translation theory is based on his romantic aesthetics. He believes that literal translation can not only convey the information of the original text, but also express the beauty of the translation.

Friedrich Holderlin (1770-1843) is the greatest lyric poet in the German Romantic period.

Holderlin advocates that every language of human beings is derived from the same basic language form, that is, what Benjamin called "pure language". Not only translation, but also creation should return to this ancient source. In translation practice, translators should adhere to literal translation, reflecting the heterogeneity of the original text. In modern poetics and translation studies, Holderlin' s language ontology is mainly based on the view of looking for "words beyond speech". This literal translation brings, of course, lexical obscurity, and Holderlin believes that the more obscure the translation, the more enlightening the tension. This poetic dialectics undoubtedly has a mystical point of view. It is very interesting that in the 20th century, people talked most about the essence of translation. The main point of view related to the essence of translation comes from Holderlin, a "firm guardian of letters" of the literal translation school. He created endless topics for translation. To some extent, Holderlin is the prophet of contemporary translation theory.

===5. Conclusion===

To sum up, as an important stage in the development of Western culture, humanistic trend cannot show up without the practice of cultural translation. As a part of the social thought at that time, translation thought is related to the social and cultural context in that period. Like other social trends at that time, translation thoughts in the period of the Renaissance and the Religious Reformation have played an important role in the evolution of the history of western translation, both returning to the original period and moving towards the new era. Humanistic trend is a turning point in the history of western translation. In short, the emergence of humanistic trend on the historical stage indicates that translation practice and theory have broken away from the "dark" Middle Ages and makes a huge step forward".

===References===

Lefevere, Andrew. eds. (1992) Translation/History/Culture: A Source Book. London : Routledge.

Munday, Jeremy. (2001) Introducing Translation Studies : Theories and Applications. London/New York : Routledge.

Robinson, Douglas. (1997) Western Translation Theory : from Herodotus to Nietzsche. Manchester : St. Jerome Publishing.

Rousseau, Jean Jacques and John Gottfried Herder. (1986) On the Oringin of Language. Chicago : The University of Chicago Press.

Wang Zuoliang, He Qishen 王佐良、何其莘(1996). 英国文艺复兴时期文学史 A History of English Renaissance Literature. 北京：外语教学与研究出版社 Beijing: oreign Language Teaching and Research Press.

Wang Zuoliang, He Qishen 王佐良，何其莘(1994). 英国文艺复兴时期的文学史 A History of English Renaissance Literature 北京：外语教学与研究出版社 Beijing: oreign Language Teaching and Research Press.

Written by --[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 08:38, 9 December 2021 (UTC)

Hist Trans Theo EN 12

2021-12-13T11:17:22Z

Wei Zhaoyan: /* 4.2 The Soaring Literary Translation: Johann Wolfgang Goethe and Friedrich Holdern */

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=12 魏兆妍 The Humanistic Trend in Western Translation Theory from the 14th to the 19th Century=
[[Hist_Trans_Theo_EN_12]]

'''The Humanistic Trend in Western Translation Theory from the 14th to the 19th Century'''

Wei Zhaoyan 魏兆妍 Hunan Normal University, China

===Abstract===
From the 14th century, Europe began to enter into the Renaissance, and the Christian world view gradually degenerated with the emergence of individual centered humanism. People who submitted to God were regarded as rational and unique individuals, emphasizing their creative potential and giving full play to their talents. With the invention of printing in the 15th century, education and schools began to be open to the public. Reading translated works from different countries was no longer a noble enjoyment. Words and information were transmitted in all directions and more quickly through translation. Translation was called the forerunner of the Renaissance. It can be said that without translation, there would be no European Renaissance and humanistic thought( the European Renaissance and humanistic thoughts didn’t appear, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]])) In Europe, the writers, thinkers and scholars in this period were also translators who knew several languages, ( and we can see that, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]])) translation and creation were closely linked. This paper will focus on the humanistic trend in western translation theory from the 14th to the 19th century, and will also enumerate the representative figures and their translation ideas in this period.

===Key words===
Humanistic trend, Western translation theory, Poetics of translation, National and world visions

===1. Introduction===

From the 14th century, Europe began to enter into the Renaissance. Dante, the last poet in the middle ages, completed ''The Divine Comedy'' in 1321. In Dante's mind, all human life experience, including life and death, must be explained by Christian faith in order to show its meaning and significance. This Christian worldview gradually degenerated with the emergence of individualism-centered humanism. All beings who submitted to God were regarded as rational, unique and creative individuals. In the past years, translators were servants attached to God. Now they have shifted from God to focusing on the translator. Personal development has become the goal and value of life. Although humanist thinkers, writers and translators still maintain the Christian faith, they put more emphasis on personal creative potential and give full play to people's strengths. The focus of translation activities in this period also shifted from the classics of the Christian Church to the translation of more secular humanistic works.

With the invention of printing in the 15th century, education and schools began to be open to the public. Reading translated works from different countries was no longer a noble enjoyment. Through the wings of translation, words and information were transmitted in all directions and more quickly. For example, Marco Polo (1254-1324) told the story of his travels in China, which spread all over the European continent through printed words. The invention of printing not only brought about a cultural revolution, but also a sharp increase in the number of translations. Translation is known as the forerunner of the Renaissance. It can be said that without translation, there would be no European Renaissance and humanistic thought. Take the role of translation in English literature for example: "Translation played a great role in the British Renaissance: first, as a pioneer, it was countless translated works that first caused the mental climate of humanism. Second, translation was still active in the era of the restoration of the king's government, but attention has turned to French works. In the intervening years, that is, in the half century from 1558 to 1603 when Queen Elizabeth was in office, translation activities were more frequent, and famous translations also appeared the most frequently, which constituted a translation climax in the whole history of English literature. " (Wang Zuoliang, He Qishen. A History of English Renaissance Literature. Beijing: ''Language Teaching and Research Press'', 1996, p. 72.）In the Queen Elizabeth era, translation reached an unprecedented prosperity, and good translations of famous works continued to emerge. In the following 17th to 18th centuries, neoclassical literary translation surpassed the previous stage. Translation was particularly important to the development of modern English language, literature and culture.

In Europe, the writers, thinkers and scholars in this period were translators who knew several languages, translation and creation were closely linked. A large number of scholars and poets have expressed their opinions on translation. From the 14th to the 16th century, the most representative was Dante's "untranslatability of literature" in Italy (1265-1321); Erasmus of the Netherlands (1466 - 1536) relied on the translator's language knowledge in the translation of ''The Bible''; The translation of German Luther (1482 - 1546) must adopt the language of the people; The translators in Dore’ s mind (1509-1546) in France must understand the original content, be proficient in two languages, avoid word for word translation, adopt popular form and pay attention to the "five translation principles" of beautiful style; Poetry translation in English Chapman' s(1559-1634) mind can not be stiff translation, and the poetry translation method of "rebuilding a new image" can be used.

From the 17th to the 19th century, the representative figures were as follows. Abranco of France: the translation method of “the beautiful unfaithful ones” which emphasized literariness and readability; Bartow (1731-1780) : accurate translation view of "the author is the master and the translator is the servant"; Dryden (1747-1841) of England: three translation principles of "literal translation, free translation and imitation translation"; Tytler (1747-1814): three translation principles of "the translation must completely reproduce the thought of the original work: the style and tone of the translation must be consistent with the characteristics of the original; the translation must be as smooth as the original." ; Humanistic thinker Herder (1744-1830) of German Romanticism: made a pioneering thinking on the language, nationality and the characteristics of relativism in translation. Goethe (1749-1832) of German: called the translator as "the prophet of the people"; Humboldt (1767-1835): expressed the views on translatability and untranslatability which had a great impact on the 20th century. The foreignization translation method of Schleiermacher (1768-1834) in the later stage has influenced the deconstructive translation theory of the 20th century. For the above representative figures and different translation views, this paper will focus on the humanistic trend and enumerate some of the representatives according to the development sequence of the history of western translation theory.

===2. The "Rebels" Who Change the Traditional Concept of Translation===
Since Jerome, the debate between literal and free translation has begun in the west. The dispute between them actually involves the question of whether translation should be equivalent to the original text, that is, faithfulness, which is also a thread running through western translation theory for more than 2000 years. Since the Renaissance, people have become more and more aware of their own subjectivity, but religious influence is everywhere all the time. As a translator, if he has any unconventional translation behavior, he may be persecuted by spirit and body, even lead to death. A history of western translation can be said to be written in the life and blood of translators to a certain extent.

Between 1536 and 1546, three translators died. Two of them were caused by translation work. They were French translation theorist Dolet, religious reformer and translator Martin Luther as well as British translator William Tyndale.
====2.1 Etiene Dolet: Five Principles of Translation====
In the history of western translation theory, the first humanist to systematically expound translation theory was Etiene Dolet(1509-1546). Dolet is a translator, printer and scholar. He is the first translator suffering from translation since the Renaissance. He is a learned, versatile and liberated translator. His interpretation of classics was regarded as walking between orthodoxy and paganism. The European Church has advocated for a long time that the translation of ''The Bible'' should be literal translation, especially the Roman Catholic Church supported the "correct" and conventional translation of ''The Bible'' . Any interpretation and translation that deviated from the classics may be regarded as heresy, criticized and prohibited, and some adventurous interpreters and translators suffered a horrible fate. In 1546, the Theological Seminary of Sorbonne University in France identified that Dolet added the phrase "whereas you will no longer be anything at all" without foundation in the translation of a paragraph about "existence after human death" in Plato's dialogue ''Axiochus'', then he was burned alive at the stake. This paragraph is as follows:

The original text in Greek: Hoti peri men tous zôntas ouk estin, hoi de apothanontes ouk eisin. hôste oute peri se nun estin, ou gar tethnêkas oute ei ti pathois, estai peri se su gar ouk esei.

The French translation by Dolet: Pour ce qu'il est certain que la mort n'est point aux vivants: et quant aux defuncs, ilz ne sont plus: donques la mort les atouches encore moins. Parquoy elle ne peult rien sur toy, car tu n'est pas encores prest à deceder; et quand tu seras décédé, elle n'y pourra rien aussi，attendu que tu ne seras plus ''rien du tou''. (The text in sixteenth century cited by Ballard and Copley Christie)

The translation in English:Since it is certain death is not at all among the living: and as for the dead, they no longer are: therefore, death touches them even less. And hence death can do nothing to you, for you are not yet ready to die, and when you have died, death will also not be able to do anything, since you will no longer be ''anything at all''.

This paragraph by Plato is an obvious atheist view. It is close to the meaning of "how can you know death when you don't know life" (''The Analects of Confucius''). The original Greek version is abstruse and difficult to understand, and there are omissions in many places. It can't be translated without adding cohesive devices. The three words added in italic French and English in the text only play a role in connecting and do not change the meaning of the original text. Dolet's addition was accused of "blasphemy", because such translation was accused of "denying the eternity of the soul", and it was precisely because he "made" this fatal translation "mistake" that he was burned at the age of 37. This accusation was a typical "unnecessary" accusation. As a translator, Dolet only translated the meaning of the original text and did not understand it improperly. The key was that Plato described Aristotle's conversation, Sorbonne's clergy could not blame Plato, so they had to blame Dolet for adding the three French words “rien du tout” (nothing at all) , because these three words could not be found in Greek or Latin, the church accused him of misunderstanding Plato's intention, blaspheming the gods and not believing in eternity. So, the risk of translation arises.

Because Dolet was persecuted by the clergy to death, his "five principles on translation" was cherished by the western translation field. Dolet's "five principles on translation" came from ''The Way of Translating Well from One Language into Another'' (1540) The excerpts of the original text are as follows:

To translate well from one language into another requires in the main five things:

(1)In the first place, the translator must understand perfectly the sense and matter of the author he is translating, although he should feel free to clarifty obscurities.

(2)The translator should have a perfect knowldgwe of boh SL and IL, so as not to lessen the majesty of the language.

(3) The translator should avoid word for word renderings.

(4)The translator should avoid Latinate and unusual forms.

(5)The translator should assemble and liaise words eloquently to avoid clumsiness.(Robinson, Douglas. ''Western Translation Theory : from Herodotus to Nietzsche''. Manchester : St. Jerome Publishing, 1997, pp.95~96.)

From the five translation principles put forward by Dolet, he advocated free translation, especially he didn't advocate rigid literal translation and paid attention to the beauty of the translation. Articles 1 and 2 can be regarded as the necessary conditions for translators. The latter three advocate that translators should use fresh language expressions, avoid using rare Greek or Latin words, but use natural and fluent forms in the target language in order to improve the social status and influence of French, Italian, German and Spanish after the disintegration of Latin. These five principles emphasized that the translator cannot follow the master like a slave, being obedient and using word for word translation method which show that the translator is poor in skills and lacks rich lexical expression. In Dolet's view, translation is the translation of meaning, not words. In order to express the author's intention, the translator has the right to adjust and reverse the sentence pattern of the translation.

====2.2 Martin Luther: the Tongue of the Common Man====

Martin Luther (1483-1546) is a German religious reformer and translator in the 16th century. As a translator of the German version of ''The Bible'', he is known as the father of German language and literature. His discussion on translation is mainly recorded in ''The Circular Letter''(1530).

For hundreds of years, people have been used to going to church to listen to ''The Bible'', because under the control of Catholicism, ordinary people have no right to read it by themselves. Luther's translation of the obscure Latin ''Bible'' into contemporary popular German is a great revolution, which is as valuable as his religious revolution. When he translated the language of God into contemporary German, he hoped that the German version of the book would be converted into different dialects, put in people's hands and enter into everyone's heart. Once ''The Bible'' translated by Luther was published, ordinary people directly heard the call of God. Luther believed that the German version he translated must be clear and easy to understand. Therefore, he systematically formulated the translation principles. This popular and fluent translation method aimed to be free from the influence of previous established translations, because free translation was also a weapon for Luther to resist the church. His main translation principles are:

(1) The purpose and the original text that the reader cannot understand should be translated freely.

(2) When translating, we should give priority to the meaning and subject content of the text, and don't stick to the grammar of the original text.

(3) Try to use a language that is easy to understand by ordinary people.

(4) Metaphors and idioms in rhetoric can be translated into non figurative language.

(5) Adhere to the reader centered orientation.

In the use of the target language, Luther did not sanctify the target language, but broke the symbol system of it. Sometimes in order to inject vitality, Luther used the people's oral language to break the coherence of the target language and pay attention to people's personal understanding and personality, which undoubtedly strengthened the social communication of the translation. However, the fluency of the translation was not at the expense of the accuracy. Luther's Bible was also very accurate in information transmission. Because the language used by Luther in translating the Bible was a vivid language loved by the people, his translation was welcomed by the people, and has been spread for a long time. Luther's basic translation principle was “You must ask the mother at home，the children in the street, the ordinary man in the market and look at their mouth, how they speak,and translate that way; then they'll understand and see that you’re speaking to them in German.“(Munday, Jeremy. ''Introducing Translation Studies : Theories and Applications''. London/New York : Routledge, 2001, p. 38.) So, easy to understand was the most fundamental purpose of Luther's translation.

====2.3 William Tyndale: A Men Who Has Dedicated His Life to Translation====

During the Renaissance, the Englishman who died for translation is William Tyndale (1494 - 1536). He is the most influential Bible translator in the English language. The three most famous Bibles ——''Geneva Bible'', ''The Douay-Rheims Bible'' and ''The King James' Bible'' in the 16th and 17th centuries are all influenced by the translation of ''Tyndale Bible'', especially ''The King James' Bible''.

Tyndale was born in Gloucestershire, England. He studied at Oxford University in his early years and taught at Cambridge University after graduation. Cambridge's humanistic thought shaped his religious thought. He believed that since religious teachings and practices come from ''The Bible'', it is necessary for British people to read it in their own mother tongue. Inspired by Martin Luther's experience in translating the German version of it, Tyndale was determined to translate an English Bible. At that time, the British Conservatives led by Moore insisted that the law stipulated that the unauthorized translation of ''The Bible'' was punishable by death. Because Tyndale was persecuted by the British church, he had to flee to Germany, where religion was relatively free, to work as a translator. As a humanist, Tyndale exposed the hypocrisy of European religion. The church accused him of "weaving love and vain history and fables to poison young people". In 1536, Tyndale was arrested and burned. All in all, Tyndale's translated works were concise and simple, using popular English words and expressions, which pioneered the generation of English translation of ''The Bible''.

What the enumerated translators have in common is that in order to spread knowledge and distinguish truth, they bravely explore the road that predecessors have not gone through, and can devote their whole life to the sacred cause of translation. At the same time, it can also be said that their translation experience and principles are written with blood and life.

===3. The Incarnation of Muse: Poetics of Translation===
Muse (Μουσαι in Greek, muses in Latin) is the general name of the goddess of science and art in ancient Greek mythology. It was born of the god Zeus and Mnemosyne, the goddess of memory. The number of Muses is uncertain, some people say there are three goddesses and others nine goddesses. Since the Renaissance, European poets, like stars, have lit the sky over Europe. These poets not only make poetry, but also translate classical poetry, seek inspiration from traditional literature and summarize poetry translation theory. This spectacle is unprecedented.

Western classical translation focuses on the works of ancient Greek and Roman poets Homer, Virgil and Ovid. These translations have greatly improved the form and content of European countries, especially British poetry art, and brought new creative techniques and skills. For example, the introduction of English poetry should first be attributed to the translation of sonnets. The original form of fourteen line lyric poem originated from Italy is abbaabba, cdecde (the last six lines can also be cdcdcd). This poetic style has been translated and introduced by Surrey, and then improved by Spencer and Shakespeare to become the English sonnet (abab eded efef gg).

Muse, the goddess of literature and art in the west, is fond of English poets. The translation works of Chapman, Dryden, Pope, Shelley and other poets fully reflect the principle of "translating poetry in the poetic way". Their poetry translation practice and theory have been perfectly combined to form a unique literary translation theory.
====3.1 George Chapman: Decorate the Translation with Beautiful Words====
George Chapman (1559-1634) is an English poet, dramatist and translator. Chapman is famous for translating Homer's ''Iliad'' and ''Odyssey''. His translation inspires the British poet John Keats more than a century later (1815), so he writes ''On First looking into Chapman's Homer'', which becomes a masterpiece through the ages.

He worshipped the warrior hero of the Agamemnon family in Greek mythology all his life, which can be seen in his works. This is one of the reasons why he chose to translate Homer's works. In 1611, he completed the translation of the ''Iliad'' in sonnets. In 1616, he finished translating the ''Odyssey'' in the poetic style of heroic antithesis. His translation has become one of the most popular works in the history of English literature and played a connecting role in the history of literature. For 200 years after its publication, its translation has been the standard English translation of Homer's works. Chapman's theory of translation criticism can be seen from his translation of the preface written in the ''Iliad'':

That those translators stick in, that affect

Their word-for word traditions( where they lost )

The free grace of their natural dialect,

And shame their authors with a forced gloss)

More license from the words than may express

Their full compression, and make clear the author;

From whose truth, if you think my feet digress,

Because I use needful paraphrases...

( Extract from The Preface to the Reader of the Translation of ''Iliad'')

From Chapman' s translation practice and theory, there are several principles worth summarizing: (1) adhere to translating poetry in poetic way. (2) oppose word for word translation and focus on free translation. (3) adopt the "interpretation" method, advocate that the translation should be decorated. (4) translator should try to show the author's intention. Chapman pays equal attention to translation practice and theory. On the one hand, he pays attention to summarizing translation experience, on the other hand, he has clear principles as translation guidance. At the same time, the deep study of Homer's works and the poetic flavor of poetry are also the reasons for his success. Now let's take a look at a passage in his translation of the ''Iliad'':

All grave old man, and soldiers they had been, but for age

Now left the wars; yet Counselors they were exceeding sage

And as in well grown woods, on trees, cold spinier grasshoppers

Sit chirping and send voices out that scarce can piece our ears

For softness and their weaker faint sounds; so( talking on the tower )

These Seniors of the people sat, who, when they saw the power

Of beauty in the Queen ascend, even those cold-spirited peers,

Those wise and almost withered men, found this heat in their years

That they were forced( though whispering )to say: what men can blame.

The Greeks and Trojans to endure, for so admired a Dame,

So many miseries, and so long? (''Iliad'', iii, 159-169)

Chapman’ s translation was concrete and vivid, with abundant emotion. His rhythm was infectious. (Wang Zuoliang, He Qishen. ''A History of English Renaissance Literature''.Beijing: oreign Language Teaching and Research Press, 1994, p. 85.) However, the addition method of Chapman was often criticized. For example, Homer asked Hector to say, "For well I know this in my mind and in my heart, the day will be, when scaled Troy shall perish." Chapman' s poem is:

And such a stormy day shall come，in mind and soul I know，

When scared Troy shall shed her towers, for tears of overthrow.

The translation is rhyming, antithetical and neat, but "mind and soul", "storm", "towers" and "teams" are added. Optimistically,the translator has rich imagination. Negatively, the translator's fantasy destroys faithfulness. In any case, Chapman' s translation style is magnificent and beautiful, reflecting the gorgeous rhetoric of the Renaissance translation and the translator's deep literary foundation. No wonder Keats felt like "seeing a new star surge into the horizon" . Homer's style is fresh, simple, clear, direct, vivid and powerful. Chapman strives to reproduce Homer's epic features in diction, sentence making and style. He has practiced poetry translation and summed up translation theory. This was rare in England from the 16th to 17th centuries: "the task of a competent and valuable translator is to abide by the sentences, rhetoric and language forms used by his original author, abide by his true meaning and depth, and then decorate them with rhetoric and language forms suitable for the language of the translation itself." (Wang Zuoliang, He Qishen. ''A History of English Renaissance Literature''.Beijing: oreign Language Teaching and Research Press, 1994, p. 82.)

Nevertheless, because Chapman translated Homer's epic in sonnets and tried to create something in phonology, the sonnets still did not conform to the style of Homer's epic, but they made some progress compared with Milton's translation with blank poems. Chapman also translated Ovid' s ''Feast of Sound and Color'' . His free translation method can fully reflect the deep meaning of the original work and was the best way to translate Homer's poetry. Chapman regarded the translation of Homer's epic as a major event in his life and believed that he was born to translate Homer's epic. His poetry translation theory filled the gap of translation theory in the late 16th century and has been inherited and developed by poetry translators from the 17th to 18th centuries.

====3.2 John Denham: Fluent Poetry Translation====

John Denham (1615 - 1669) is the most famous poet and translator in England in the mid-17th century. When he was young, he went to Oxford to study law, but he never worked as a attorney. He becomes famous because he translated the epic ''Aeneas'' written by Virgil, an ancient Greek tragedy. Later, his poetry also makes him famous in the literary world.

Denham' s translation theory is mainly reflected in his two articles on translation. One is ''To Sir Richard Fanshawe upon his translation of pastor Fido'' (1648), and the other is The preface of his translation of Aeneas, ''The Destruction of Troy'' (1656) He believes that art expresses nature in a harmonious and elegant way, so the translator should go beyond the constraints of form and create a novel translation. The translation of literary works is different from the translation of religious and disciplinary works, the former can be less faithful, and the translation of ''Aeneas'' adopts the method of translating poetry in the poetic way, pays attention to the legal effect of poetry, and has achieved good results.

Specifically, Denham' s translation theories include:

(1) Denham follows a "neoclassicism" path ". The translation method pursues a new translation method, that is, the translator should innovate, especially in the charm of poetry. Translation should give full play to the advantages of the target language. This process of using the target language to accultrate the original text is also the domestication translation method. This innovative translation method is deeply influenced by the free translation method advocated by France in the 17th century, that is, the translation should be beautiful. Although Denham pursues the elegance and beauty of his translation, his translation is basically faithful. His free translation mainly focuses on the artistic conception or "poetry for poetry", rather than the translated vocabulary.

(2) Denham believes that the translator and the author enjoy the same status. As a poet and translator, he believes that the translator has the right to extract the core part from the original text and recreate it in the target language. If there is a key word in Denham's translation theory, it is "fluency", as if the translation is not like the translation, but more like creation. In this way, the sentence pattern of the original text can be rewritten, the unclear meaning can be clarified, the smooth poetic rhythm and form can be used, the irregular structure can be avoided, and the pause can be used to strengthen the coherence of poetic sentence patterns. Denham' s fluent translation makes people feel that reading his translation is not reading the translation, but reading the original English work. Therefore, he is known as "Virgil" in Britain.

(3) The translator has his own choice and motivation. Denham chooses the free translation method and the translation of ''Aeneas'' has its own purpose: the relationship between the king and his descendants in the Trojan story will remind the reader of Britain at that time. He hopes to give cultural support to the English monarch through the translation of such a work. There is an imaginary connection between Troy's pedigree and the defeated Caroline government at that time. This kind of ideological manipulation and rewriting confirms his translation It serves the royalists. Therefore, his translation is very flexible and has more freedom than other translators.

====3.3 John Dryden: Three Principles of Translation====

John Dryden (1631 - 1700), an English poet, translator and dramatist, is the most influential critic in Britain in the 17th century. His literary criticism has influenced the following two centuries. As a translation theorist, his discourse on translation is considered to be the most systematic in western translation theory before the 17th century.

The three translation types (1680) divided by Dryden and the three translation principles (1797) of Tytler all advocated to talk about translation in civilian rather than pretentious academic language, which is why their translation theory is still used today. As the "the first translation theorist" so far, Dryden' s translation views were mainly reflected in the translation of the ''Preface to Ovid' s Epistles''. Dryden classified three types of translation as follows:

All translations,I suppose, may be reduced to these three heads.

(1)Fist( At first, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]])), that of metaphrase，or turning an author word by word, and line by line, from one language into another. Thus, or near this manner, was Horace his ''Art of Poetry'' translated by Ben Jonson.

(2)The second way is that of ( delate that of, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]))paraphrase, or translation with latitude, where the author is ( delate “is” , corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]))kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that too is (it is admitted to, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]))admitted to be amplified, but not altered. Such is Mr. Walter' s translation of Virgil's fourth ''Aeneid''.

(3)The third way is that of imitation, where the translator( if now he has not lost that name) assumes the liberty, not only to vary from the words and sense, but to forsake them both as he sees occasion; and taking some hints from the original, to run division on the groundwork, as he pleases. Such is Mr. Cowley' s practice in turning two Odes of Pindar, and one of Horace, into English.

Among the three translation methods, Dryden is most opposed to Ben Jonson' s word for word translation, that is, literal translation. It is considered that this translation method is like "tis much like dancing on ropes with fed legs", which mechanically imitates the original text, but can not be separated from the constraints of its grammar, sentence pattern and poetic rhythm, so that its semantics is obscure. As for the great freedom of imitation translation, the purpose of the translator is to imitate the previous works in subject content and literary form, neither translated words nor translated meaning. Therefore, literal translation and imitation translation are the two most extreme forms of translation, and translators should take warning. Free translation is the translation method advocated by Dryden. The so-called free translation means that the translator must have a limit of freedom. He should always see the author and not lose his way. From this point of view, Dryden insists that poetry translation must "translate poetry with poetry", that is, the person who translates poetry must be a poet, so that he can understand the charm of the original and better express it in the target language and aesthetic language.

The three classifications of Dryden' s translation have a great influence on the western translation theory in the 20th century. They are an indispensable part of western translation theory. His translation theory represents the peak of the development of English and criticism theory in the 17th century.

====3.4 Alexander Pope: Translation of Homer Epic====

Alexander Pope (1688-1744) is an important poet and translator in the Enlightenment period of the 18th century. His ''An Essay on Criticism'' (744 lines) is written in antithetical verses, expounds ( expounding, corrected by --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]))the aesthetic principles of classical literature and art, and establishes Pope's position in the history of English literature. Pope became famous for translating Homer's epics and won a reward of 10000 pounds and a great reputation.

Pope's translation of Homer's epic is accused by translation critics of not rhyming and reading like an 18th century Englishman. In other words, Pope's translation of Homer's epic is not so much a reflection of Homer's style as Pope's own style. His translation is full of personal characteristics and idioms. But when discussing translation, Pope said that his translation is better than those full of translation cavity. His main translation views are recorded in the translation preface of the ''Iliad''. Pope's translation theory is very similar to Dryden' s: (1) he advocates free translation and maintains the beauty of poetry translation. (2) it is the sacred mission of the translator not to add or delete arbitrarily in translation. (3) the relationship between literal translation and free translation is dialectical. Literal translation can not reproduce the beautiful meaning of the original text, but it is wrong to make up for it by hasty free translation. (4) servile loyalty to the literal meaning will only damage the poetic style of the original text. (5) the plain and clear style of Homer's epic in modern language is not a lesson. Translation should reflect the main characteristics of the original: when talking about the beauty and defects of the original, we should talk about the translation, which is the embodiment of the main characteristics of it. As long as the main parts of the original poem show the contents such as fables, etiquette and emotion, no translator will save and compress them out of his own prejudice. The same is true for the translation of every image, description and simile. If we save too much translation, it will weaken the main characteristics of the original poem.

In Pope's view, the translator should not only grasp the characteristics of the original text, but also deal with the idioms and metaphors in Homer's epic, strive to reproduce the image of the original text, and can not be arbitrarily deleted due to personal prejudice. The beautiful and noble poetic features of the original text should also be reproduced in the translation. Pope is often criticized for some affectation and arbitrary play. The accusation of the former may be related to Pope's neoclassicism. Arbitrary play is a major feature of some humanist translators.

Generally speaking, Pope adopts the domestication translation method to explain, understand and translate the original work with the poetic concepts of the Enlightenment period, in order to maintain a smooth and natural poetic flavor in the target language. Compared with the other two translators of Homer's epics Chapman and R. lattinmore, Pope's translation is generally very neat and elegant, reproducing the style of neoclassicism. Chapman' s translation is beautiful, while the translation of R. lattinmore, a translator in the 20th century, is fresh and casual. In general, Pope's translation of Homer's epic is neat and reproduces Homer's poetic flavor, charm to a certain extent.

===4. The National and World Visions of Translation===

The 17th century to the 19th century is the climax of the development of modern western translation theory. A large number of writers and translators with world reputation have sprung up in Britain, France and Germany. Generally speaking, the free translation school originated in France in the 17th century and had a great influence on Britain. There were many innovations in translation theory in Britain from the 17th to the 18th century. The discussion at this stage mainly focused on the translation of classical poetry. In Germany, with the emergence of “Stum and Drang, Storm and Stress” and Romanticism in the 18th and 19th centuries, German Conservatism has showed up.

The 19th century, represented by the "Stum and Drang, Storm and Stress", is a period of great development of German Conservatism, represented by the "German Romanticism", which is also a stage of the transition of literary and artistic forms from classicism to Romanticism, which can also be said to be the romanticism in the naive period. The central representatives of this movement are the famous writers Goethe and Schiller. Goethe's ''The Troubles of Young Witt'' is the representative work of this period, expressing the conflict of human inner feelings and the spirit of striving. This movement lasted for nearly 30 years, from 1765 to 1795, and then was replaced by the mature romantic movement. A large number of linguists, writers and translation theorists such as Herder, Goethe, Humboldt, Schleiermacher, Holderlin and Schlegel came on stage one after another. They translated a considerable number of classical works of ancient Greece and Rome, also translated and introduced a large number of works of other European countries (such as the translation of Shakespeare's plays). German literature in this period has won a great reputation all over the world. Due to the participation of the above-mentioned literature, German translation activities and translation research have also reached an unprecedented zenith, which has laid a solid foundation for western translation theory in the 20th century.

====4.1 Language Shapes the National Identity: Johann Gottfried Herder and Wilhelm von Humboldt====

The humanistic thoughts sweeping the whole Europe, such as humanism, classicism, enlightenment, “Stum and Drang, Storm and Stress” and romanticism, make the relationship between European countries closer and closer. These movements provide important conditions and environment for the birth of translation theory. Herder and Humboldt demonstrated the relationship between language, translation and national identity from the perspective of language.

Johann Gottfried Herder (1744 - 1803) is a pioneer of the German rapid movement. As a forerunner of the enlightenment movement, Herder always focuses on how to use translation to transform German literature. In his opinion, the growth of German national literature is inseparable from translation. His views on translation are scattered on the origin of language, on the more recent German literature and other works. These views on language and translation have a great impact on language education and translation circles. From the perspective of language, he believes that speech is invented by man, and language represents rationality: "Without language, man has no reason and without reason no language." (Rousseau, Jean Jacques and John Gottfried Herder. ''On the Oringin of Language.'' Chicago : The University of Chicago Press, 1986, p. 121.) Herder's view of language nature opposes taking language as a simple tool and medium. He believes that language is a national organism, which can best reflect the national spirit and national soul (Volksgeist) , is the bond that forms the nation-state. Whoever loses his own language loses his identity and patriotism. Germans should be proud of their language and nation. Herder and Humboldt put forward that language determines thinking, which not only provides a basis for the self hypothesis theory two centuries later, but also gives a view of the uncertainty and untranslatability of translation buried the foreshadowing.

Herder opposes the deification of language and insists on explaining the generation of language from the perspective of naturalism. He believes that rationality is the key to the origin of language. He tries to provide a natural rather than reductionist explanation for human characteristics and creativity, and seeks the origin of language in human natural characteristics. Herder's natural reductionism is not only used to explain the origin of language, but also the power of natural interpretation is extended to all fields of culture to reflect the characteristics of human creation, such as art, religion, law, etc. Through the power of natural interpretation, they are included in a scientific world outlook. This language turning point fundamental. Its significance is that people begin to pay real attention to the problems of language itself, such as the essence of language, the relationship between language and rationality, how language can be expressed, etc. Then Humboldt inherited and developed Herder's view. Language blindness is no longer just a vassal of rationality, a simple tool. From then on, he began to get out of the influence of theology and gradually formed an independent philosophy of language.

Herder's views had a great impact on Humboldt.

Wilhelm von Humboldt (1767-1835) is the most influential linguist, philosopher and educational reformer in the West.

Humboldt's main translation views are:

(1) Language determines thought and culture. A language is the reflection of real life. Language has unique national characteristics, and the languages of different nationalities reflect their cultural characteristics. Different languages reflect the world outlook of different nationalities. It emphasizes the reaction of language to thinking: language determines thought and mode of thinking, and different languages have different schemata to understand the world. Translation consists of different languages and forms different language schemata. Therefore, equivalence in translation is impossible.

(2) The more you know a language, the greater the distance between nations. This is because different nations have different world views and different language habits. From this point of view, because we are aware of the great differences between different languages, we believe that it is impossible to achieve complete equivalence. Therefore, mutual translation between languages is impossible.

(3) Translation should deeply understand the era, atmosphere and character of the original author, and strive to avoid the obscure side of the translation and ensure the readability of the translation.

(4) The phonological beauty of poetry and drama translation must be maintained. Meter pattern is the key to all beauty.

Humboldt' s contribution to translation theory is that he is aware of the tension and contradiction of translation. He does not recognize the existence of a universal conceptual system beyond language boundaries. Therefore, his view of translation was interpreted as the representative of untranslatability in the 20th century. Because there are two meanings of "ubersetzen" and "dolmesschen" in German translation, "understanding" always carries "pre-understanding", that is, with personal subjective vision or prejudice, it is impossible to completely reach a consensus between different individuals. "Dolmesschen" let us have the opportunity to enter the commonness of language, which enables translation to cross specific social and cultural factors, and it is possible to understand each other between languages, so there is a reason to seek equivalence in translation. This is Humboldt' s dualism of language and translation.

====4.2 The Soaring Literary Translation: Johann Wolfgang Goethe and Friedrich Holdern====

Johann Wolfgang Goethe (1749-1832) is the greatest poet, translator and outstanding representative of Romanticism in Germany.

To sum up, Goethe believes that translation can be divided into three types.

(1) Facing different types of readers, we need different types of translation. In poetry and truth, he said, "if you want to influence the masses, a simple translation is always the best. Critical translations vying with the original really are of use only for conversations the learned conduct among themselves."(Lefevere, Andrew 1992: 75)

(2) Adaptation or imitation translation. "The second stage is that the translator translates contentedly according to his own wishes. Even if the translator tries to integrate himself into foreign situations, I would rather call this stage imitation stage."(Lefevere, Andrew 1992: 75)

(3) Pay attention to rhythmic literal translation sentence by sentence. Homer's ''Odyssey'' and ''Iliad'' translated by German Translator J. h. Voss made him famous overnight. His translation has beautiful rhythm and intonation and accurate choice of words and sentences. Although the public could not accept the strict literal translation rhythm at first, it gradually recognized it later. Goethe emphasizes that public taste can be shaped through translation.

Among all these three types of translation, Goethe most appreciates the literal translation that pays attention to rhythm, because as a poet, he takes into account the poetic characteristics such as meter pattern and rhythm, which are the true qualities of the original author. Goethe mentioned two principles of Translation: first, foreign writers move closer to the target language, so that his works look the same as the target language writers; Second, readers cross the border to adapt to foreign customs and language characteristics.

Goethe's translation theory is based on his romantic aesthetics. He believes that literal translation can not only convey the information of the original text, but also express the beauty of the translation.

Friedrich Holderlin (1770-1843) is the greatest lyric poet in the German Romantic period.

Holderlin advocates that every language of human beings is derived from the same basic language form, that is, what Benjamin called "pure language". Not only translation, but also creation should return to this ancient source. In translation practice, translators should adhere to literal translation, reflecting the heterogeneity of the original text. In modern poetics and translation studies, Holderlin' s language ontology is mainly based on the view of looking for "words beyond speech". This literal translation brings, of course, lexical obscurity, and Holderlin believes that the more obscure the translation, the more enlightening the tension. This poetic dialectics undoubtedly has a mystical point of view. It is very interesting that in the 20th century, people talked most about the essence of translation. The main point of view related to the essence of translation comes from Holderlin, a "firm guardian of letters" of the literal translation school. He created endless topics for translation. To some extent, Holderlin is the prophet of contemporary translation theory.

===5. Conclusion===

To sum up, as an important stage in the development of Western culture, humanistic trend cannot show up without the practice of cultural translation. As a part of the social thought at that time, translation thought is related to the social and cultural context in that period. Like other social trends at that time, translation thoughts in the period of the Renaissance and the Religious Reformation have played an important role in the evolution of the history of western translation, both returning to the original period and moving towards the new era. Humanistic trend is a turning point in the history of western translation. In short, the emergence of humanistic trend on the historical stage indicates that translation practice and theory have broken away from the "dark" Middle Ages and makes a huge step forward".

===References===

Lefevere, Andrew. eds. (1992) Translation/History/Culture: A Source Book. London : Routledge.

Munday, Jeremy. (2001) Introducing Translation Studies : Theories and Applications. London/New York : Routledge.

Robinson, Douglas. (1997) Western Translation Theory : from Herodotus to Nietzsche. Manchester : St. Jerome Publishing.

Rousseau, Jean Jacques and John Gottfried Herder. (1986) On the Oringin of Language. Chicago : The University of Chicago Press.

Wang Zuoliang, He Qishen 王佐良、何其莘(1996). 英国文艺复兴时期文学史 A History of English Renaissance Literature. 北京：外语教学与研究出版社 Beijing: oreign Language Teaching and Research Press.

Wang Zuoliang, He Qishen 王佐良，何其莘(1994). 英国文艺复兴时期的文学史 A History of English Renaissance Literature 北京：外语教学与研究出版社 Beijing: oreign Language Teaching and Research Press.

Written by --[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 08:38, 9 December 2021 (UTC)