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20211103 homework

2021-12-30T16:17:15Z

Zhu Suzhen: /* 朱素珍 Zhū Sùzhēn 英语语言文学（语言学）女 202120081561 */

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==陈静 Chén Jìng 国别女 202020080595==

由于八旗官学中向来有习清书、习汉书之分的传统，礼部遂奏请采用不同方式，对应试者分别考试翻译或清字文，无论乡试、会试，皆是如此，而区别只在于会试时针对应试者学习语言的不同背景，各自增加了一道题量，即，习汉字者除了考试汉字文翻译，另考试文章一篇，习清文者则在乡试的基础上，增试清字文一篇。这一规定既针对八旗满洲，也针对八旗蒙古，但不针对八旗汉军，后者的考试内容与普通汉族士子相同。同时，礼部也奏请对笔帖式和他赤哈哈番、哈番（即，笔帖式哈番）参加乡、会试进行规定，其中前者参加乡试，后二者参加会试。
Since there has always been a tradition of learning the Books of Qing style and the Book of Han style in the Eight Banners Official Schools, the Ministry of Rites adopted different ways to test translation or the article forming in the style of Qing Dynasty for the candidates, regardless of the rural test and the meeting test. The difference is that only the number of questions was increased according to the different backgrounds of the candidates’ language learning in the meeting test. That is to say, in addition to the translation of the language of Han, the Chinese learners of Han Style also had one test article. On the basis of the rural test, the Qing learners added one test article of its language. This regulation is for the Eight Banners of Man Region and Men’gu, but not for the Eight Banners of Han Army. The test content of the latter is the same as that of the ordinary Han scholars. At the same time, the Ministry of Rites also invited two region that besides the Eight Banners to participate in the rural and meeting examinations. The former participated in the rural examination, and the latter two participated in the meeting examination.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 15:20, 30 October 2021 (UTC)

Since there has always been a tradition of learning Qing books and Han books in the Eight Banners official school, the Ritual Department asked to use different methods. The corresponding subjects were tested for translation or Qing characters, both in the provincial examination and the joint examination. The only difference is that when the joint examination was held, one question was added to the corresponding subjects' different backgrounds of learning the language, that is, in addition to testing the translation of Chinese characters, Another examination article was given, while those who studied Qing characters added one article written by Qing characters on the basis of the township examination. This provision is not only for Manchuria of the Eight Banners, but also for Mongolia of the Eight Banners, but not for the Han army of the Eight Banners. The examination content of the latter is the same as that of ordinary Han scholars. At the same time, the Ministry of rites also asked for regulations on the participation of pen style and his Chi ha fan and ha fan (i.e. pen style ha fan) in the township and joint examination, in which the former participated in the township examination and the latter two participated in the joint examination.

--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 15:40, 30 October 2021 (UTC)

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

上文引用的内容也出现在《雍正会典》（又称《（雍正）大清会典》），以及两部《钦定大清会典事例》（嘉庆、光绪）中，三者都明确提到停止（八旗）考试的具体时间，即顺治十四年（1657年），而且三者中都加有“按语”，进一步说明此事。其中，《雍正会典》中的说法是“此后复行考试，与汉人一体。停止翻译”，《钦定大清会典事例》中的说法则是“康熙二年（1663）谕：满洲、蒙古、汉军生员俱准乡试。此后惟翻译未经举行。”

The content quoted above also appears in the Yong Zheng canon . (also known as the (Yong Zheng) Qing Dynasty canon ) and the two cases of imperial Qing canon (Jia Qing and Guang Xu). The three all clearly mentioned the specific time to stop the (eight banners) examination, that is, the 14th year of Shun Zhi (1657), and "notes" were added to further explain the matter. Among them, the statement in the Yong Zheng canon is that "after that, the examination will be resumed and integrate with the Han people.Stop translation". The statement in the case of the imperial Qing canon is that "in the second year of Kang Xi (1663), the Manchurian, Mongolian and Han Army students will be allowed to take the provincial examination. Since then, only the translation has not been held."

--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 02:20, 28 October 2021 (UTC)

The content quoted above also appears in the Code of Yongzheng . (also known as the (Yong Zheng) Code of Great Qing Dynasty) and the two cases of Regulations on Code of Great Qing Dynasty (Jia Qing and Guang Xu). The three all clearly mentioned the specific time to stop the (eight banners) examination, that is, the 14th year of Shun Zhi (1657), and "notes" were added to further explain the matter. Among them, the statement in the Code of Yongzheng is that "after that, the examination will be resumed and integrate with the Han people.Stop translation". The statement in the case of the Regulations on Code of Great Qing Dynasty is that "in the second year of Kang Xi (1663), the Manchurian, Mongolian and Han Army students will be allowed to take the provincial examination. Since then, only the translation has not been held."--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 11:39, 5 November 2021 (UTC)

==曾俊霖 Zēng Jùnlín 国别男 202120081478==

（允禄等，1995：4619-4620；托津等，1991：2659-2662；昆冈等，1963：657）从《雍正会典》的记载及其“按语”看，至少可以推导出两点：其一，八旗科举考试始于顺治十四年前，但十四年即停办；其二，顺治十四年前，翻译科便已存在。顺治十四年以后，八旗科举考试得以恢复，但翻译科举仍被停止。

(Yunlu et al., 1995: 4619-4620; Tojin et al., 1991: 2659-2662; Kungang et al., 1963: 657) From the records of the "Code of Yongzheng" and its "notes", at least two points can be deduced : First, the Eight Banners imperial examination began 14 years ago in Shunzhi, but it was suspended after 14 years; second, the translation department already existed 14 years ago in Shunzhi. Fourteen years after Shunzhi, the Eight Banners imperial examination was resumed, but the translation of the imperial examination was still suspended.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 11:44, 5 November 2021 (UTC)

(Yunlu et al., 1995: 4619-4620; Tojin et al., 1991: 2659-2662; Kungang et al., 1963: 657) From the records of the "Code of Yongzheng" and its "notes", at least two points can be infered: First, the Eight Banners imperial examination began 14 years ago in Shunzhi, but it was suspended in the 14th year; second, the translation department has already existed 14 years ago in Shunzhi. Fourteen years after Shunzhi, the Eight Banners imperial examination was reheld, but the translation of the imperial examination was still suspended.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 13:23, 7 November 2021 (UTC)Chen Huini

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

《雍正会典》中的这一记载与两部《钦定大清会典事例》中的说法如出一辙，后二者也将顺治八年的八旗科举考试视作翻译科的第一事例。而且，三种文献均提到了停办翻译科的事，即“停止翻译”和“此后惟翻译未经举行”。固然，无论是天聪八年的八旗乡试，还是顺治八年礼部研议的八旗科举，二者皆与翻译考试有关，但就性质与意义而言，它们都不是翻译科之缘起。

This record in ''The Yongzheng Ceremony'' is the same as that in ''The Two Imperial Examinations'' of the Qing Dynasty, which also regarded the Eight Banners imperial examination in the eighth year of Shunzhi as the first example of translation. Moreover, the closure of the translation section is mentioned in all three documents, namely, "the cessation of translation" and "only translation has not been held since then". Of course, both the Eight Banners township examination held in the eighth year of Tiancong and the Eight Banners examination discussed by the Ministry of Rites in the eighth year of Shunzhi are related to translation examination, but in terms of nature and significance, they are not the origin of translation study.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 06:25, 30 October 2021 (UTC)Chen Huini

This record in ''The Yongzheng Ceremony'' is the same as that in ''The Two Imperial Examinations'' of the Qing Dynasty, which also sees the Eight Banners imperial examination in the eighth year of Shunzhi as the first example of translation. Moreover, the closure of the translation section is mentioned in all three documents, namely, "the cessation of translation" and "only translation has not been held since then". Of course, both the Eight Banners township examination held in the eighth year of Tiancong and the Eight Banners examination discussed by the Ministry of Rites in the eighth year of Shunzhi are related to translation examination, but with regard to essence and significance, they are not the origins of translation study.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 11:21, 3 November 2021 (UTC)

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

《清实录·世祖章皇帝实录》和《八旗通志·初集》中，均将顺治八年的旗人考试称为“八旗科举”或“八旗考试”，而没有将其称作“翻译科举”或“翻译考试”，由此可知二者之区别。《钦定八旗通志》中，虽然用了“翻译考试”或“考试翻译”等字眼描述顺治时期的八旗科举，并将其视作翻译科举之源，且《清实录·圣祖仁皇帝实录》中也有康熙二年“复行满洲、蒙古、汉军翻译乡试”的记载，但上述记录实为误记的可能性较大，不排除系实录馆馆臣或编纂者依据雍正年间的情形误植所致。（叶高树，2013：52）

In ''Veritable Records of Qing Dynasty ·Veritable Records of Shunzhi Emperor'' and ''The General Annals of the Eight Banners '' , in stead of "translation imperial examination" or "translation exam", Qi's selection in 1651 were all called "Eight Banners imperial examination" or "Eight Banners exam"， which showed the difference between those two exams.In ''The General Annals of the Eight Banners Dedicated to the Emperor''，though “translation examination” and “test for translation ability” were used to describe Eight Banners imperial examination during Shunzhi's period and researchers took it as the origin of translation imperial examination as well as a record in ''Veritable Records of Qing Dynasty ·Veritable Records of Kangxi Emperor'' of reinstating translation exam in rural areas of Man,Meng and Han places in 1662. But it is possibly wrong information and can not exclude the situation that officials were mistaken by records of Yongzheng Emperor.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 07:49, 29 October 2021 (UTC)

In Qing Record and Record of Shunzhi Emperor and The General Annals of the Eight Banners , in stead of "translation imperial examination" or "translation exam", Qi's selection in 1651 were all called "Eight Banners imperial examination" or "Eight Banners exam", which showed the difference between those two exams.In The General Annals of the Eight Banners Dedicated to the Emperor, though “translation examination” and “test for translation ability” were used to describe Eight Banners imperial examination during the period of Shunzhi and were regarded as the origin of translation imperial examination. And in Qing Record and Record of Kangxi Emperor also had the record of resuming the Manchurian, Mongolian, Chinese army translation Provincial Examination" in 1662, but the above record is actually a greater possibility of misinformation, do not exclude the fact that the Museum of factual records or compilers based on the Yongzheng years of the situation misplanted. (Ye Gaoshu, 2013: 52) --[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 04:03, 1 November 2021 (UTC)

==陈心怡 Chén Xīnyí 翻译学女 202120081481==

有清一代，以“翻译”之名选拔八旗士子的科目很多，如庶吉士、翻译庶吉士、笔帖式等，但这些考试属于各部院衙门自行选用人才的方式，均未形成独立建制，与文科举并行。所谓顺治时期八旗考试中的“翻译考试”或“考试翻译”，也只是一种考试的内容或形式，并非是一种科考制度。

三、《八旗通志》等关于翻译科创建时间的订正。

In Qing dynasty, there were many subjects to select scholars of the eight banners in the name of "translation", such as the Hanlin Bachelor, Hanlin Bachelor of translation, and Clerk etc. But these examinations belonged to the various ministries and agencies to choose their own way of talent, had not formed an independent establishment. They were held in parallel with arts. The so-called eight banners in the Shunzhi period examination "translation examination" or "examination of translation" was only a test content or form, not a system of the imperial civil examination.
Third, The General Annals of the Eight Banners and other revisions on the creation of the examination of translation. --[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 07:06, 28 October 2021 (UTC)
In Qing dynasty, there were many subjects to select scholars of the Eight Banners in the name of "translation", such as the Hanlin Bachelor, Hanlin Bachelor of translation, and Clerk etc. But these examinations belonged to various ministries and agencies to choose their own ways of selecting talents, had not formed an independent establishment, which were held in parallel with arts. The so-called “translation examination" or "examination of translation" of Eight Banners in Shunzhi period was only a content or form of it, not a system of the imperial civil examination.
Third, ''The General Annals of the Eight Banners'' and other revisions on the creation of the examination of translation.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 13:28, 2 November 2021 (UTC)

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

如前所述，天聪八年的八旗考试虽然有着不同类型之分，如满洲习满书、满洲习汉书等，本质上却是“语文测验”，而非翻译科考。同理，顺治八年的八旗科举虽然包含翻译考试的项目，但所谓翻译考试也只是八旗文科举的附设环节，尚未独立成科。凡此二者，皆与雍正元年研拟并于翌年首次开科，且具有独立、自主的制度设计的翻译科明显不同。
As mentioned above, although the examinations of the Eight Banners had different types during the eighth year of Tian Cong, the reign title of Qing Dynasty, such as learning Manchurian books in Manchu, learning Han books in Manchu, etc.,which were essentially a “language test” rather than a translation examination. Similarly, although the imperial examination of Eight Banners in the eighth year of Shun Zhi, a reign title of Qing Dynasty, included the translation examination, the so-called translation examination was only an ancillation of it, which had not become an independent subject. Both of them were significantly different from the examination of translation, which was discussed and formulated in the first year of Yong Zheng, a reign title of Qing Dynasty, and opened the following year, having an independent and autonomous system designation.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 13:54, 2 November 2021 (UTC)

As it mentioned above, although the examinations of the Eight Banners had different types during the eighth year of Tian Cong, such as learning Manchurian books in Manchu and learning Han books in Manchu etc, they were essentially a “language test” rather than a translation examination. Similarly, although the imperial examination of Eight Banners in the eighth year of Emperor Shun Zhi included the translation examination, the so-called translation examination was only an ancillation of it, which had not become an independent subject. Both of them were significantly different from the examination of translation, which was discussed and formulated in the first year of Emperor Yong Zheng, a reign title of Qing Dynasty, and opened the following year, having an independent and autonomous system designation.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 10:59, 3 November 2021 (UTC)

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

《雍正会典》与两部《钦定大清会典事例》中，关于翻译科创设的说法不仅与《清实录·世祖章皇帝实录》冲突，也与《八旗通志》等存在较大出入。《八旗通志》和《钦定八旗通志》中，也将顺治八年、十一年两榜满、蒙举人和进士，归于“文举人”和“文进士”之列，而不是“翻译举人”和“翻译进士”之列，并把首科翻译举人归为雍正二年甲辰科，而将首科翻译进士归为乾隆四年己未科。（鄂尔泰等，1985：3393-3396、3419-3422；铁保等，1968：811-813、828-830）

The record of the foundation of translation subject in ''Record of Laws and System of Yongzheng Dynasty'' and ''Authorized Record of Laws and System of Qing Dynasty'' is in conflict with even largely different from that in ''Qing Record and Record of Shi Zuzhang Emperor'' and ''Eight Banners Annals''. In ''Eight Banners Annals'' and ''Authorized Eight Banners Annals'', two lists of Manchu and Mongolian candidates in the imperial examinations at the provincial level and the highest imperial examinations were enrolled to the field of literature rather than translation in the eighth and eleventh years of Shunzhi emperor. Besides, the translation candidates from provincial level of the initial subject were enrolled to Jiachen subject in the second year of Yongzheng emperor and the translation candidates in the highest imperial examinations were distributed to Jiwei subject in the fourth year of Qianlong emperor. (Ertai etc, 1985: 3393-3396、3419-3422；Tie Bao etc，1968：811-813、828-830)--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 09:58, 29 October 2021 (UTC)

The record of the foundation of translation subject in ''Record of Laws and System of Yongzheng Dynasty'' and ''Authorized Record of Laws and System of Qing Dynasty'' is in conflict with even largely different from that in ''Qing Record and Record of Shi Zuzhang Emperor'' and ''Eight Banners Annals''. In ''Eight Banners Annals'' and ''Authorized Eight Banners Annals'', two lists of Manchu and Mongolian candidates in the imperial examinations at the provincial level and the highest imperial examinations were enrolled to the field of literature rather than the translation in the eighth and eleventh years of Shunzhi emperor. Besides, the translation candidates from provincial level of the initial subject were enrolled to Jiachen subject in the second year of Yongzheng emperor and the translation candidates in the highest imperial examinations were enrolled to Jiwei subject in the fourth year of Qianlong emperor. (Ertai etc, 1985: 3393-3396、3419-3422；Tie Bao etc，1968：811-813、828-830)--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 04:21, 3 November 2021 (UTC)

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

显然，在《八旗通志》和《钦定八旗通志》的编纂者看来，顺治八年、十一年的两科举人与进士均不是出自翻译科举，而是出自八旗文科举。从清代进士题名碑的情况看，也可知翻译科并非始设于顺治年间。例如，在由北京图书馆金石组编写出版的《中国历代石刻拓本汇编》（1990）一书中，收录了顺治九年、十二年两榜进士的题名碑，但题名碑的书写与文进士题名碑并无不同，碑头和碑文中都没有出现“翻译”字样。

Obviously, in the opinions of editors of ''The General Annals of the Eight Banners'' and ''The General Annals of the Eight Banners Dedicated to the Emperor'', both Ju ren and Xiu cai of two subjects in the eighth year and eleventh year of Shunzhi were not from the imperial examinations of translation but from liberal arts. According to the name of Jin shi inscribed on the stones in Qing dynasty, the imperial examinations of translation did not start with the period of Shunzhi. For instance, edited and published by Jin Shi of National Library of China, ''The Collection of Stone Inscriptions and Rubbings in Past Chinese Dynasties'' (1990)includes the inscription stones in the ninth year and twelfth year of Shunzhi. But there is no difference in the description on the stone compared with the stone of Jin shi of liberal arts, and the word “translation” do not appear no matter in the beginning or the text.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 06:20, 28 October 2021 (UTC)

Obviously, in the opinions of editors of ''The General Annals of the Eight Banners'' and ''The General Annals of the Eight Banners Dedicated to the Emperor'', both Ju ren and Xiu cai of two subjects in the eighth year and eleventh year of Shunzhi were not from the imperial examinations of translation but from liberal arts. According to the name of Jin shi inscribed on the stones in Qing dynasty, the imperial examinations of translation did not start with the period of Shunzhi. For instance, edited and published by Jin Shi of National Library of China, ''The Collection of Stone Inscriptions and Rubbings in Past Chinese Dynasties'' (1990)includes the inscription stones in the ninth year and twelfth year of Shunzhi. But there is no difference in the description on the stone compared with the stone of Jin shi of liberal arts, and the word “translation” do not appear either in the beginning or the text.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 03:08, 5 November 2021 (UTC)

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

而同书在处理乾隆年间的四科翻译会试（即四年己未科、十年乙丑科、十三年戊辰科，以及十六年辛未科）时，碑头和碑文中却明确标注“翻译进士”，或“翻译会试”字样。（北京图书馆金石组，1990：52、169；24、146）同样的情况也见于《国朝历科题名碑录初集》，本书中关于顺治期间两榜进士（九年壬辰科、十二年乙未科）的称呼也只是“满洲进士”，而不是“翻译进士”，而且该书收录的题名中皆为文进士，未见有翻译进士。
However, when it comes to the collected works related imperial translation examination (the fourth, tenth, thirteenth and sixteenth years of Qianlong period) in the book mentioned above, there was clear inscription of “translation scholar or translation imperial examination” on the tablet head and inscription (Jin Shizu, Beijing Library, 1990: 52、169; 24、146). It’s true of A preliminary collection of inscriptions and stele of calendar subjects in the national Dynasty, in which the title of two Jinshi (the ninth year and twelfth of Shunzhi ) was just Manchu Jinshi, rather than translation Jinshi. Furthermore, the book included not translation Jinshi, but literal Jinshi. --[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 03:00, 5 November 2021 (UTC)

However, when it comes to the collected works related the imperial examinations of translation (namely, the fourth, tenth, thirteenth and sixteenth years of Qianlong period) in the book mentioned above, there was clear indication of “Jinshi (''a successful candidate in the highest imperial examinations'') of translation or imperial examination of translation” on the tablet head and inscription (''Jin Shi of National Library of China'' , 1990: 52、169; 24、146). It’s true of ''The Preliminary Collection of The Inscriptions of Passers Lists in Past Chinese Dynasties'', in which the name of the two Jinshi lists in the ninth year and twelfth of Shunzhi period was just Manchu Jinshi, rather than translation Jinshi. Furthermore, the book included not “Jinshi of translation”, but “Jinshi of liberal arts”.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 04:03, 5 November 2021 (UTC)

==付诗雨 Fù Shīyǔ 日语语言文学女 202120081486==

由此可知，《雍正会典》和两部《会典事例》将顺治八年看作翻译科之起点确系误记。值得注意的是，《（康熙）大清会典》中，并没有录入“翻译科”的条目，这一点表明编纂者或许已对翻译科有了重新认识。《清实录·世祖章皇帝实录》中说，顺治十四年正月，世祖降旨吏、礼、兵三部，要求“今后限年定额考取生童，乡会两试，俱着停止，各部院衙门取用人员不必分别满汉文学”，但此处诏令停办的乡、会试同样只是八旗科举文试，而不是翻译考试。

From this, it can be seen that ''Record of Laws and System of Yongzheng Dynasty'' and the two ''Authorized Record of Laws and System of Qing Dynasty'' actually mistook the eighth year of Shunzhi for the starting point of the imperial translation examination. It is worth noting that in the "''Record of Laws and System of Kangxi Dynasty''", there is no entry for a item of "the imperial translation examination", which indicates that the editor may have a re-understanding of it. According to the "''Qing Record and Record of Shi Zuzhang Emperor and Eight Banners Annals''", in the first month of the fourteenth year of Shunzhi, Shizu issued an edict to ministries of Administration, Rites, and Military Affairs , demanding that "From now on, there would be limitations on the participant numbers and the years of the imperial examination to admit scholars. The county examination and the metropolitan examination would be also suspended. And it would be not necessary for every ministry to separate Manchu and Chinese literature when hiring officials." However, the two examinations that were suspended here were also the Manchu’s Imperial Examination, not the translation examination.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 10:15, 30 October 2021 (UTC)--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 10:15, 30 October 2021 (UTC)

From this, it can be seen that the ''Yongzheng Huidian'' and the two ''Huidian Shili'' actually mistook the eighth year of Shunzhi for the starting point of the imperial translation examination. It is worth noting that in the ''Da Qing Huidian'' (Kangxi edition), there is no such entry as "the imperial translation examination", which indicates that the editor may have a re-understanding of it. According to the "Factual Record of Qing Dynasty: Actual Record Of Shizu", in the first month of the fourteenth year of Shunzhi, Shizu issued an edict demanding that, “from now on, ministries of Administration, Rites, and Military Affairs, admit a limited number of students and only in designated years, suspend the county examination and the metropolitan examination, and stop separating Manchu and Chinese literature when selecting officials.” However, the two examinations that were suspended here were also the Manchu’s Imperial Examination, not the translation examination.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 14:39, 30 October 2021 (UTC)

==高蜜 Gāo Mì 翻译学女 202120081487==

（鄂尔泰等，1985：831-832）事实上，早在顺治朝以前，也曾有开科取士的情况，如天聪八年太宗皇太极命刚林、恩国泰等十六人“俱赐为举人”，崇德三年、六年又取中两榜举人，但上述三科同样并非翻译科。（铁保等，1968：780-781）毫无疑问，顺治时期的八旗科举和雍正元年初设的翻译科考之间有着渊源关系。

（E Ertai, etc., 1985:831-832）In fact, long before the reign of Emperor Shunzhi, there had been cases of selecting scholars through examinations. For example, in 1634, the eighth year of Tiancong, Hong Taiji issued a dree that granted sixteen candidates the title of Juren, including Gang Lin, En Guotai, etc. Again, in the third and the sixth years of Chongde respectively, Juren was selected through the county examination and the palace examination (Tie Bao, etc., 1968:780-781). There is no doubt that the imperial translation examination established in the first year of Emperor Yongzheng is related to the Eight Banners' Imperial Examination during Emperor Shunzhi's reign. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 14:43, 30 October 2021 (UTC)

（E Ertai, etc., 1985:831-832）In fact, long before the reign of Emperor Shunzhi, there had enlisted talents through the old civil service examination system. For example, in 1634, the eighth year of Tiancong, Hong Taiji issued a dree that granted sixteen candidates the title of Juren, including Gang Lin, En Guotai, etc. Again, in the third and the sixth years of Chongde respectively, Juren was selected through the county examination and the palace examination (Tie Bao, etc., 1968:780-781). There is no doubt that the imperial translation examination established in the first year of Emperor Yongzheng is related to the Eight Banners' Imperial Examination during Emperor Shunzhi's reign. --[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 10:57, 3 November 2021 (UTC)

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

首先，顺治朝的八旗科举与翻译科考一样，都有为旗人开设专科的倾向，只不过在前者中满洲和蒙古合为一榜，汉军与汉人合为另一榜，而翻译科考则容括了汉军。其次，就考试内容而言，顺治年间的翻译考试只针对识汉字者，翻译并非考试的全部内容，而翻译科考则主要考察应试者的翻译能力，以实现满、蒙、汉等多种语言融通。雍正朝以后，虽然历代统治者对翻译科考进行了这样或那样的调整与改革，但翻译科考的制度雏形却在顺治朝时已然形成。

First of all, the eight Banners imperial examination system of Shunzhi Dynasty had the same tendency to set up special subjects for Bannermen as the translation imperial examination system, but in the former, Manchuria and Mongolia were combined into one ranking list, and the Han banner and the Han people were combined into another ranking list, while the translation imperial examination included the Han banner. Secondly, as far as the test content is concerned, the translation imperial examination in Shunzhi period was only for those who knew Chinese characters, and translation was not the whole content of the test, while the translation imperial examination mainly examined the translation ability of those who took the test, so as to achieve mastery of manchu, Mongolian, Chinese and other languages. After the Yongzheng Dynasty, although successive rulers made some adjustments and reforms, the embryonic form of translation imperial examination system had been formed in the Shunzhi Dynasty. --[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 14:58, 30 October 2021 (UTC)

First of all, the Eight Banners imperial examination and translation examination in Emperor Shunzhi’s reign tended to be exclusive to the Eight Banners. But in the former, Manchuria and Mongolia were included on one ranking list; the Han armies and the Han people were included on another ranking list, while in the later the Han armies were included. Secondly, in terms of test content, the translation imperial examination in Shunzhi’s reign was only for those who knew Chinese characters, and translation was not the whole content of the test, while the translation imperial examination mainly examined the translation ability of participants, so as to achieve communication of Manchu, Mongolian, Chinese and other languages. Since the Emperor Yongzheng’s reign, although successive emperors made some adjustments and reforms, the original form of translation imperial examination had been formed in Emperor Shunzhi’s reign. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 11:41, 3 November 2021 (UTC)

==何芩 Hé Qín 翻译学女 202120081489==

可以认为，顺治朝时期的翻译考试为雍正帝创设翻译科考，以及日后各朝的修订与完善，打下了良好基础。

四、《钦定国子监志》对于翻译科缘起的补正

与《八旗通志》、《钦定八旗通志》和《国朝历科题名碑录初集》等不同，清代历史文献中，也有将顺治八年、十一年两榜举人与进士称作翻译举人与翻译进士的情况。

It is fair to say that the translation examination set up in Emperor Shunzhi’s reign has established a solid foundation for Emperor Yongzheng to include it into the Imperial Examination and for future revisions in the following dynasties.

4. ''The Imperial Academy Journal Dedicated to the Emperor''——supplement to the Translation Examination in the Imperial Examination

Different from ''General Annals of the Eight Banners'', ''General Annals of the Eight Banners Dedicated to the Emperor'' and ''National Collection of Stele Inscriptions'', some historical documents refer the Jin shi and Juren in 8th and 11th year of Emperor Shunzhi’s reign as Jinshi in translation and Juren in translation.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 11:42, 3 November 2021 (UTC)

It can be considered that the translation examination in the Shunzhi period laid a good foundation for the establishment of the translation examination by Emperor Yongzheng, as well as the revision and improvement of the dynasties in the future.
Ⅳ. Regarding the supplements and corrections of the origin of the translation department, "Imperial College Annal" was different from ''General Annals of the Eight Banners'', ''General Annals of the Eight Banners Dedicated to the Emperor'' and ''National Collection of Stele Inscriptions''. In the historical documents of the Qing Dynasty, there were cases in which provincial graduates and metropolitan graduates during the eighth year of Shunzhi and the eleventh year of Shunzhi were referred to as provincial graduates of translation and metropolitan graduates of translation.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 13:43, 5 November 2021 (UTC)

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

例如，在沈廷芳辑注的《馆选录》和朱汝珍辑注的《词林辑略》中，顺治年间识汉字且通过考试翻译中式举人和进士者，往往被称为翻译举人、翻译进士。如满洲正白旗人达哈塔于顺治九年壬辰科中进士，被称为翻译进士，并分派至内院学习，正白旗人玛尔汉，则被称作“顺治甲午翻译举人”。（邹长清，2011：357）然而，据前文关于顺治年间八旗科举考试的分析可知，这样的称呼与事实不符。

For example, in Shen Tingfang's ''Collections of Officials' Candidates'' and Zhu Ruzhen's ''Abstracts of Officials’ Names of Literati House'', in the Shunzhi period, those people, who knew Chinese characters and passed the test translation to be provincial graduates and metropolitan graduates, were usually called provincial graduates of translation and metropolitan graduates of translation. For instance, Dahata, a man from the White Banner of Manchuria, was a metropolitan graduate in the ninth year of Shunzhi, called a metropolitan graduate of translation and assigned to study at adytum. Malhan, the White Banner people, was called “the Shunzhi Jiawu provincial graduate of translation" (Zou Changqing, 2011: 357). However, according to the previous analysis of the Eight Banners imperial examinations during the Shunzhi period, such titles did not match the facts.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 13:36, 5 November 2021 (UTC)

For example, during the reign of Emperor Shunzhi the Chinese learners who passed the translation examination and become provincal graduates or metropolitan graduates were called provincial graduates of translation and metropolitan graduates of translation according to the edition and annotation of Shen Tingfang's Collections of Officials and Zhu Ruzhen's Abstracts of Officials. So Dahata, a man from the White Banner of Manchuria, was a metropolitan graduate in the ninth year of the reign of Shunzhi. He was regarded as metropolitan graduate of translation and appointed to work at adytum. And Malhan,a White Banner, was viewed as "provincial graduate of translation in Shunzhi Jiawu period" (Zou Changqing, 2011: 357). However, according to the previous analysis of the Eight Banners imperial examinations during the Shunzhi period, such titles did not match the facts.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 00:46, 6 November 2021 (UTC)

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

顺治年间的八旗士子，无论习清语，还是习汉语，都是一体考试。只不过，对于识汉字者而言，考试中增加了翻译的环节（内容），但考试本身仍归属文科举范畴。然而，由于编纂者的误解或误记，致使讹错流传。

During the reign of Emperor Shunzhi, students from the eight banners took the same examination no matter what language they used. Though a translation part was added for Chinese learner, the examination itself belonged to liberal studies. Unfortunately, with the misunderstanding or negligence of the editors it was mistakenly recorded and spread to the descendants.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:43, 29 October 2021 (UTC)

During the reign of Emperor Shunzhi, all the candidates from the eight banners took the same examination no matter what language they used. Though a translation part was added for Chinese learner, the examination itself belonged to liberal arts. Unfortunately, with the misunderstanding and misdescription of the editors, it was mistakenly recorded and passed on to the descendants.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 11:52, 1 November 2021 (UTC)

==黄逸妍 Huáng Yìyán 外国语言学及应用语言学女 202120081492==
如《国子监志》卷四八《金石三》中，便将顺治九年、十二年两科及第者俱称“翻译进士”：九年壬辰科，赐邹忠倚等三百九十七名及第出身题名碑，又赐翻译进士麻勒吉等五十名及第出身题名碑。以上五碑在大成门外之东南向。

In the 48th volume of the Record of Imperial College, candidates who have passed the imperial examination were called "Translation Scholars" in the 9th year and 12the year during the reign of emperor Shunzhi. It was recorded that in the 9th year during the governance of emperor Shunzhi, the names of South Zhongyi and other 397 successful candidates in the highest imperial examination and Majile and other 50 Translation Scholars are inscribed on the stone tablet. And the five carved stone tablets were located southeast to the Dacheng Doors.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 11:44, 1 November 2021 (UTC)

In the 48th volume of the Record of Imperial College, candidates who have passed the imperial examination were called "Translation Scholars" in the 9th year and 12th year during the reign of Emperor Shunzhi. It was recorded that in the 9th year during the governance of emperor Shunzhi, the names of South Zhongyi and other 397 successful candidates in the highest imperial examination and Majile and other 50 Translation Scholars are inscribed on the stone tablet. And the five carved stone tablets were located southeast to the Dacheng Doors.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 09:28, 7 November 2021 (UTC)Huang Zhuliang

==黄柱梁 Huáng Zhùliáng 国别男 202120081493==

十二年乙未科，赐史大成等三百九十七名及第出身题名碑，又赐翻译进士图尔宸等五十名及第出身题名碑。以上五碑在大成门外之东南向。（梁国治，1986：527）《国子监志》由乾隆十三年进士梁国治奉敕纂辑，全书共六十二卷，分圣谕和御制诗文等，后者依类分载于各“志”。In the Imperial Competitive Examination in the 12th year of Emperor Shunzhi's ruling(lunar ca;endar the Year of Goat[Yi Wei], 397 members such as Shi Dacheng and 50 members of Translation Jinshi such as Tu Erchen were all given a great honor that their name will appear in the monument which only the names of Jinshi can be engraved. The above five monuments are southeast of Dacheng Gate. (Liang Guozhi, 1986:527) ''The Records of the Imperial Academy'' was compiled by Liang Guozhi under the order of Emperor Qian'long in the 13th year of his ruling. The whole book has 62 volumes, including holy edicts and emperor's-- poems. The latter is contained in various "records" according to categories.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 07:52, 29 October 2021 (UTC)Huang Zhuliang

In the Imperial Competitive Examination in the 12th year of Emperor Shunzhi's ruling(lunar ca;endar the Year of Goat[Yi Wei], 397 members such as Shi Dacheng and 50 members of Translation Jinshi such as Tu Erchen were all given the birth inscription Jinshi monument by the emperor. The whole book has 62 volumes, including holy edicts and emperor's-- poems. The latter is contained in various "records" according to categories. The above five monuments are southeast of Dacheng Gate. (Liang Guozhi, 1986:527) ''The Records of the Imperial Academy'' was compiled by Liang Guozhi under the order of Emperor Qian'long in the 13th year of his ruling. The whole book has 62 volumes, including holy edicts and emperor's articles and poems. The latter is contained in various "records" according to categories.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:46, 2 November 2021 (UTC)

==金晓童 Jīn Xiǎotóng 202120081494==

按照上述记载，麻勒吉、图尔宸等都被称作翻译进士，由皇帝赐及第出身题名碑。顺治九年，朝廷决定以满、汉分科的形式开科取士，麻勒吉于同年壬辰科考取会试第一，殿试一甲第一，一甲其余二人为折库纳与巴海，俱赐进士及第出身。然而，尽管麻勒吉后来授封教习庶吉士，但其本人并非翻译进士，这一点从《题名碑录》、《进士题名碑录》以及《八旗通志》等文献中均可得到应证。
According to the above records, Maleji, Turchen etc,their were all called translator Jinshi(the successful candidates in the highest imperial examinations) and were given the birth inscription Jinshi monument by the emperor.In the 9th year of emperor Shunzhi, the imperial court decided to establish a division of Manchu and Han disciples to select scholars. In the same year, Maleji won the first place in the general examination,and the first in the imperial examination, the other two people were Zhekuna and Bahai, both of whom were given the birth inscription of Jinshi.However, although Maleji later was conferred the title of Hanlin Bachelor, he himself was not a translator Jinshi, which can be proved by many documents such as Block-printed copy of the inscribing on the stone,Block-printed copy of the inscribing of Jinshi on the stone, General Annals of Eight Banners.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 13:52, 28 October 2021 (UTC)

According to the above records, Maleji, Turchen etc,their were all called translator Jinshi(the successful candidates in the highest imperial examinations) and were given the birth inscription Jinshi monument by the emperor.In the 9th year of emperor Shunzhi, the imperial court decided to establish a division of Manchu and Han disciples to select scholars. In the same year, Maleji won the first place in the general examination,and the first in the imperial examination, the other two people were Zhekuna and Bahai, both of whom were given the birth inscription of Jinshi.However, although Maleji later was conferred the title of Hanlin Bachelor, he himself was not a translator Jinshi, which can be proved by many documents such as ''Block-printed copy of the inscribing on the stone'',''Block-printed copy of the inscribing of Jinshi on the stone'', ''General Annals of Eight Banners''.

==邝''Italic text''艳丽 Kuàng Yànl 英语语言文学（语言学）女 202120081495==

《国子监志》于乾隆四十三年奉敕纂辑，并被收入《四库全书》之后，又于道光年间经监臣李宗昉等奏请，开馆增辑刊印。道光十四年，文庆、李宗昉等完成增辑，共八十二卷，取名《钦定国子监志》。然而，与梁国治版《国子监志》不同，《钦定国子监志》中，并没有将麻勒吉和图尔宸等人称作翻译进士，这一点也许是文庆、李宗昉等编纂者基于历史事实而做出的修正
''The Record of the Imperial Academy'' was edited in the 43th year of Qianlong, then was added edition and published for the petition of Warden Li Zongfang in the reign of Daoguang after it was included in the Si Ku Quan Shu. In the 14th year of Daoguang, the edition of ''The Record of the Imperial Academy'' was finished by Wenqing and Li Zongfang, which had 82 chapters in all and was named ''The Record of Imperial Academy Made by Imperial Order''. However, what was different from ''The Record of the Imperial Academy'' by Laing Guozhi is that Ma Leji and Tu Erchen and others were not called Tien Si of Translation in ''The Record of the Imperial Academy Made By Imperial Order'', which may be the correction made by such editors as Wen Qing and Li Zongfang on the basis of historical facts.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 00:52, 3 November 2021 (UTC)

The Record of the Imperial Academy was edited in the 43th year during the period of Qianlong, then was added edition and published for the petition of Warden Li Zongfang in the Reign of Daoguang after it was included in the Si Ku Quan Shu. In the 14th year during the period of Daoguang, the edition of The Record of the Imperial Academy, which had 82 chapters in all and was named The Record of Imperial Academy Made by Imperial Order, was finished by Wenqing and Li Zongfang. However, what was different from The Record of the Imperial Academy by Laing Guozhi is that Ma Leji and Turchen and others were not called Tien Si of Translation in The Record of the Imperial Academy Made By Imperial Order, which may be the correction made by such editors as Wen Qing and Li Zongfang on the basis of historical facts.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 11:24, 3 November 2021 (UTC)

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

与此同时，该书在乾隆四年翻译进士题名碑之后，也增加“按语”如下，可作为考证麻勒吉、图尔宸等人翻译进士身份的重要线索：翻译乡会试，自雍正元年，定于子、午、卯、酉年二月乡试，辰、戌、丑、未年八月会试。嗣后或举或停，或止准乡试而停会试。

At the same time, after the translation of the inscription of scholars monument in the fourth year during the period of Qianlong, the book also was added following "notes", which can be used as an important clue to verify the identity of translation scholars such as Ma Leji and Turchen: since the first year during the period of Yongzheng, provincial examination of translation has been scheduled in February of Zi, Wu, Mao and You year, and metropolitan examination of translation has been held scheduled in August of Chen, Xu, Chou and Wei year. Hereafter, the examination was either held or cancered, or the provincial examination held and metropolitan examination cancered.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 11:15, 3 November 2021 (UTC)

At the same time, after the inscription of scholars was translated in the fourth year of the reign Emperor Qianlong, and notes were added to the book, which could be used as important textual researches to identify translation scholars such as Maleji and Tuerchen: since the first year during the reign of Emperor Yongzheng, provincial examination of translation has been scheduled in February of Zi, Wu, Mao and You year, and metropolitan examination has been held scheduled in August of Chen, Xu, Chou and Wei year. After then, the examination was held or canceled from time to time. Sometimes the provincial examination was held, but metropolitan examination was canceled.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 12:49, 3 November 2021 (UTC)

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

至乾隆四年八月，复举行会试。题名之有碑刻，自是科始。二十二年，仍议停止会试。

By August in the fourth year of the reign of Emperor Qianlong, the provincial examination had been held. Since the beginning of imperial examination, names of successful candidates would be inscribed. However, in the twenty-second year, the court still decided to stop it after discussion.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 10:21, 29 October 2021 (UTC)

By August in the fourth year of Emperor Qianlong's reign, the provincial examination had been resumed. Since the beginning of imperial examination, names of successful candidates would be inscribed on steles. However, in the twenty-second year, once again, the court decided to stop it after discussion.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 08:37, 6 November 2021 (UTC)

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

四十四年，照旧举行，并奏准赐进士出身。停其殿试。又奏准停止建立碑记。

In the 44th year of Emperor Qianlong's reign, the metropolitan examination was resumed. And those who passed the examination were bestowed as Chin-Shih (excellent candidates in the highest imperial examinations). And then the final imperial examination presided over by the emperor was suspended. Later, proposal was approved not to keep inscriptional record.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 02:47, 28 October 2021 (UTC)

In the 44th year of Emperor Qianlong's reign, the metropolitan examination was resumed. And those who passed the examination were bestowed as Chin-Shih (successful candidates in the highest imperial examinations). But the final imperial examination presided over by the emperor was suspended. The emperor gave orders to stop the construcion of inscriptions.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 09:46, 3 November 2021 (UTC)

==李双 Lǐ Shuāng 翻译学女 202120081499==

今翻译进士题名，故仅止四碑。详识于此。（文庆、李宗昉等，2000：1106）根上文所载，至少可以明确以下四点：首先，翻译乡会试始于雍正年间。

As a result, there were only four steles that record successful candidates in the highest imperial examinations of translation. (Wen qin, Li Zongfang etc. 2000:1106) According to the previous records, at least the following four points can be made clear: First of all, the translation provincial and metropolitan examinations began in the reign of Yongzheng.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 02:35, 3 November 2021 (UTC)

As a result, there were only four steles that recorded successful candidates in the highest imperial examinations of translation. (Wen qin, Li Zongfang etc. 2000:1106) According to the previous records, at least the following four points can be made clear: First of all, the translation provincial and metropolitan examinations began in the reign of Emperor Yongzheng.--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 11:09, 4 November 2021 (UTC)

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

雍正朝期间，原定举办四科翻译乡试，即四年（午）、七年（酉）、十年（子）、十三年（卯），四科翻译会试，即二年（辰）、五年（未）、八年（戌）、十一年（丑），但其间时停时举，或仅举办翻译乡试而停办翻译会试，并不规律。其次，乾隆四年八年办理乙未科时，回复办理翻译会试，中式者赐进士出身，有碑刻。再次，乾隆二十二年，停办翻译会试，四十四年恢复，中式者仍赐进士出身。

During the reign of Yongzheng, the government conducted four subjects of translation provincial examination, including 1726, 1729, 1732, 1735, and four subjects of translation metropolitan examination, including 1724, 1727, 1730, 1733. But during this period, some examination had been canceled and some held, or the government only held the provincial examination and canceled the metropolitan examination, which was not order. Next, in 1739 and 1743, it was going to hold the second examination, however, the government decided to hold the translation metropolitan examination, and the winner can get the title of Jinshi, which also had the inscriptions recorded. Then, in 1757, the translation metropolitan examination had been suspended, and recovered in 1779, the winner also can get the title of Jinshi. --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 01:37, 31 October 2021 (UTC)

During the reign of Yongzheng, the government conducted four translation subjects as provincial examination, including 1726, 1729, 1732, 1735, and four translation subjects as metropolitan examination, including 1724, 1727, 1730, 1733. But during this period, some examination had been canceled and some held, or the government only held the provincial examination and canceled the metropolitan examination, which was irregular.Besides, in 1739 and 1743, it was going to hold the second examination, however, the government decided to hold the translation metropolitan examination, and the winner can get the title of Jinshi, which also had the inscriptions recorded. Then, in 1757, the translation metropolitan examination had been suspended, and recovered in 1779, the winner also can get the title of Jinshi.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 09:06, 1 November 2021 (UTC)

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

最后，翻译殿试一直处于停办状态。因而，翻译进士题名碑仅有四科，分别是乾隆四年己未科、十年乙丑科、十三年戊辰科，以及十六年辛未科。如果《钦定国子监志》中的上述记载属实，则可知《国子监志》中将麻勒吉、图尔宸等称作翻译进士，并由此认定顺治八年即为翻译科之起始年的观点并不可取。

Finally, the translation test has been suspended. As a result, there are only four in the history of translation test, which are jiwei in the fourth year of qianlong, Yichou in the tenth year, Wuchen in the thirteenth year, and Xinwei in the sixteenth year. If the records in The Imperial Records are true, it can be seen that maleji and Tulchen were called talents of translation in the Imperial Records, and the views in the eighth year of Shunzhi( the beginning year of translation )is not desirable.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 09:02, 1 November 2021 (UTC)

Finally, the translation temple has been suspended. As a result, there are only four branches on the translated Jinshi inscription tablets, which are jiwei in the fourth year of qianlong, Yichou in the tenth year, Wuchen in the thirteenth year, and Xinwei in the sixteenth year. If the above records in The Imperial Imperial Records are true, it can be seen that maleji and Tulchen were called jinshi of translation in the Imperial Imperial Records, and the view that the eighth year of Shunzhi was the beginning year of translation is not desirable.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:21, 3 November 2021 (UTC)

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

事实上，《国子监志》不仅误记了顺治九年、十二年两榜进士（满洲、蒙古）题名碑，而且在乾隆年间的两科翻译进士题名碑问题上，也发生了讹错与遗漏。具体而言便是，《国子监志》中仅记载了两碑乾隆年间的翻译进士，分别是乾隆十三年的戊辰科和十六年的辛未科，颁赐对象分别是武进、武立等四十二人。至于乾隆四年己未科和十年乙丑科，其中未见有记录，此事令《国子监志》的可信度受损。（梁国治，1986：530）
As a matter of fact, in the Annals of the Imperial College, there are not only errors in the inscription tablets of the ninth and twelfth year of Shunzhi, but also errors and omissions in the translation of the inscription tablets of the jinshi in the qianlong period. Specifically, in the Annals of imperial College, there are only two steles of translated Jinshi during the Reign of Emperor Qianlong, namely wuchenke in the thirteenth year of Emperor Qianlong and Xinweike in the sixteenth year of Emperor Qianlong, which were awarded to 42 people, including Wu Jin and Wu Li. As for the jiwei section in the fourth year and yichou Section in the tenth year of the Reign of Emperor Qianlong, there were no records, which damaged the credibility of the Annals of the Imperial Academy. (Liang Guozhi, 1986:530)--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:19, 3 November 2021 (UTC)

In fact, in the ''Annals of the Imperial College'',it misremembered two-listed inscribed (Manchuria, Mongolia) scholars in Shunji nine years and twelve years , but also in Qianlong years, it had also mistakes and omissions in the two sections of translation scholars inscription tablet problem. Specifically, the ''Annals of the Imperial College'' only records the two monuments Qianlong years of translation, respectively, Qianlong 13 years of Thechenke and 16 years of Xin Weike, awarded to the object of Wujin, Wu Li and other forty-two people. As for Qianlong's four-year absence and ten-year B-Ugly Section, which has not been recorded, the credibility of the ''Annals of the Imperial College'' has been undermined. (Liang Guozhi, 1986:530)--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:46, 3 November 2021 (UTC)

==李怡 Lǐ Yí 法语语言文学女 202120081504==

结语：翻译科的创设始于雍正年间，而非顺治年间，这一点毋庸置疑。顺治时期，八旗科举考试中虽然已有了翻译考试的内容，但此时的翻译考试并非独立建制，而是隶属于八旗文科举，为后者考试中的一个环节，或者说为其考试内容的一个部分。
Conclusion: There is no doubt that the establishment of translation department began in the Qing Yongzheng, not in the Qing Shunzhi. During the Shunzhi period, there was a content of translation examination in the eight Banners imperial examination, but the translation examination was not an independent institution, but a part of the eight banners liberal arts examination, or a part of the examination content.

Conclusion: There is no doubt that the establishment of translation subject began in the reign of Yongzheng rather than Shunzhi. During the Shunzhi period, although there was translation exercises in examination in the eight Banners imperial examination, it was not an independent subject but a part of the eight banners liberal arts examination, or a part of the examination content.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 01:32, 30 October 2021 (UTC)

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

雍正年间，世宗为了整饬八旗“废弛陋习”，奖励清语学习，因而创制翻译科，将其视作方法与工具，鼓舞八旗满洲与蒙古奋勉向学，以图进取。翻译科的创设带有明确、强烈的政治、文化意涵，是为了维护“国语骑射”的满洲根本，以及满族文化特征。这么做，一方面是为了维护满洲祖制，避免满族固有文化被汉族同化；另一方面则是想通过传承自身文化，实现全国政权的长远统治。

During the reign of Emperor Yongzheng, emperor Shizong established the subject of Translation as a means and tool to encourage the Eight Banners in Manchuria and Mongolia to learn Chinese and make progress with the hope to rectify the "bad habits" of the eight banners and reward Chinese learning. The establishment of the Translation subject has clear and strong political and cultural implications, that is, to maintain the manchu roots of "mandarin horsemanship" and the characteristics of Manchu culture. This act, on the one hand, is to maintain the manchu ancestor system and avoid the inherent culture of Manchu being assimilated by the ethnic Han. On the other hand, it aims to realize the long-term rule of the national regime through inheriting their own culture.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 01:09, 30 October 2021 (UTC)

During the reign of Emperor Yongzheng, the Emperor established the subject of translation in order to rectify outmoded conventions and reward Chinese learning. It was regarded as a means and tool to encourage the Eight Banners in Manchuria and Mongolia to learn Chinese in an effort to forge ahead. The establishment of the translation subject had clear and strong political and cultural implications, that is, to maintain the manchu roots of "National language and ride" and the characteristics of Manchu culture. On the one hand, this practice was to maintain the manchu ancestor system and avoid the inherent culture of Manchu being assimilated by the ethnic Han. On the other hand, it aimed to realize the long-term rule of the national regime through inheriting their own culture.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 11:28, 3 November 2021 (UTC)

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

毫无疑问，作为清代八旗科举制度的重要成分，翻译科的创设自有其积极意义，它不仅使旗人获得了进身机会，缓解了八旗生计的困难，而且也为朝廷遴选了大量翻译专才，促进了国家治理。然而，翻译科自身也有缺陷与不足，这一点主要体现在“首崇满洲”的基本原则上，它是维护满洲特权与旗人利益的集中体现，对于我们研究清代的政治、文化发展与变化，以及有清一代的民族关系与民族政策等，都具有重要的学术价值与社会意义。

There was no doubt that as an important component of the imperial examination system of the Eight Banners in Qing Dynasty, the establishment of the translation department had its own positive significance. It not only provided opportunities for the people of the Eight Banners and alleviated the difficulties of making a living, but also selected a large number of translation professionals for the imperial court and promoted national governance. However, the translation department also had its own defects and deficiencies, which was mainly reflected in the basic principle of "first advocating Manchuria". It was a concentrated embodiment of safeguarding Manchuria's privileges and Eight Banners people's interests. It had important academic value and social significance for us to study the political and cultural development and changes of Qing Dynasty, as well as the ethnic relations and ethnic policies of Qing Dynasty.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 13:52, 30 October 2021 (UTC)

There is no doubt that as an important component of the imperial examination system of the Eight Banners in the Qing Dynasty, the creation of the translation subject has its own positive significance. It not only provided promotion opportunities for the people of the Eight banners and alleviated the difficulty of making a living, but also selected a large number of translation professionals for the imperial court and promoted national managemant. However, the translation subject also has its own defects and deficiencies, which is mainly reflected in the basic principle of “first advocate Manchuria”. It is a concentrated embodiment of safeguarding Manchuria's privileges and the Eight Banners people's interests.Which has important academic value and social significance for us to study the political and cultural development and changes of the Qing Dynasty, as well as the ethnic relations and ethnic policies of the Qing Dynasty. --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 14:11, 30 October 2021 (UTC)Liu Wei

==刘薇 Liú Wēi 国别女 202120081507==

《金瓶梅》满文翻译考释

摘要：淫词小说的禁毁系清代长期的文化政策。然而，社会历史阶段不同，政府对该政策的推进与执行也不尽同。

A textual criticism research on the Manchu translation of ''The Golden Lotus''
Abstract: The prohibition and damage of pornographic novels was due to the long-term cultural policies of the Qing Dynasty. However, on account of different social and historical periods, the government's promotion and implementation of this policy are also different. --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 02:59, 30 October 2021 (UTC)Liu Wei

A Textual Criticism Research on the Manchu Translation of ''The Golden Lotus''
Abstract: Banning and destroying pornographic novels was a long-term cultural policy in the Qing Dynasty. However, the government's promotion and implementation of this policy were quite different in different social and historical periods.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 07:49, 30 October 2021 (UTC)

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

清初，统治者的政策重心在于武力征伐与国家统一，文禁的重点在于政治倾向显著的作品。因而，为了笼络人心，政府对汉族小说及其翻译的偏见并不显著，对《金瓶梅》等淫词类小说的禁毁与惩处也影响较小。康熙中期以后，政府强化了思想控制，加强了小说翻译与小说创作的管制，《金瓶梅》的审查亦在其中。

In the early Qing Dynasty, the policies enacted by the emperor focused on military expeditions and national unification, that of literary persecution focusing on works with prominent political tendencies. Therefore, in order to win people's support, the government's prejudice against Chinese novels and their translation was not significant, and little influence had been brought by the prohibition and punishment of erotic novels such as the '' Golden Lotus''. After the middle period of emperor Kangxi's reign, the government strengthened the control of thought, as well as the control of novel translation and novel creation, including the review of the ''Golden Lotus''.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 13:17, 28 October 2021 (UTC)

In the early Qing Dynasty, the rulers' policy focused on military expedition and national unity, and the cultural prohibition focused on works with significant political tendency. Therefore, in order to win the hearts of the people, the government's prejudice against Chinese novels and their translation was not significant, and little influence had been brought by the prohibition and punishment of erotic novels such as the '' Golden Lotus''. . After the middle period of Kangxi, the government strengthened the ideological control, as well as the control of novel translation and novel creation, including the review of the ''Golden Lotus''.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 00:42, 30 October 2021 (UTC)

==刘越 Liú Yuè 亚非语言文学女 202120081509==

《金瓶梅》的翻译有别于“四书”、“五经”，它既不能塑造道德，又不能规范秩序，其翻译与刊刻遭到限制在所难免。然而，《金瓶梅》译本最终得以成书，与统治者的支持或默认不无关联。

关键词：《金瓶梅》；满文翻译；和素；文化政策；审查

The translation of Golden Lotus is different from the "Four Books" and "Five Classics". It can neither shape morality nor regulate order. It is inevitable that its translation and publication will be restricted. However, it is related to the support or acquiescence of the rulers that the translation of Golden Lotus was finally completed.
Key words: Golden Lotus; Manchu translation; He Su; Cultural policy; examination--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 00:35, 30 October 2021 (UTC)

The translation of Golden Lotus was different from The Four Books and Five Classics. It could neither contribute in instilling morals nor keeping order, and thus the restriction on its translation and publication were inevitable. However, the completion of the translation of Golden Lotus is related to the support or acquiescence of the rulers.

Keywords: Golden Lotus; Manchu translation; He Su; cultural policy; censorship--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 12:40, 7 November 2021 (UTC)

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

清代的官方文献中，并未明确出现“文化政策”字样，而是代之以“文教”、“教化”等概念，但这并不能说明清代的文化建设缺乏既定的政策理念与行为准则。恰恰相反，自顺治十年起，清廷即制订了“崇儒重道”的文化政策，将中国传统的文化概念融入政治实践，并在嗣后各朝逐渐形成“兴文教”、“崇经术”的治国方针。如康熙九年提出的“圣训十六条”、乾隆年间修纂的《四库全书》等，都是“崇儒重道”的重要实践。

In the official documents, the exact term “cultural policy” did not appear, instead, the terms of “culture and education” and “moral teaching” were used. This finding did not mean that the cultural development of Qing dynasty lacked of established policy ideas or code of conduct. On the contrary, since the tenth year of the reign of Shunzhi, the cultural policy of “advocating Confucianism and adhering to Confucian doctrine” which incorporated the traditional Chinese cultural concepts into political practices has been established by Qing government. Later on, the ruling principle of “promoting the development of culture and education” and “advocating Confucianism” gradually came into being under the administrations of the following emperors. For instance, The Sixteen Rules by the Emperor issued in the ninth year of Kangxi's reign and The Siku Quanshu edited in Qianlong's age were all important practices of “advocating Confucianism and adhering to Confucian doctrine”.--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 05:07, 2 November 2021 (UTC)

The words "cultural policy" did not explicitly appear in official documents of the Qing dynasty, but were replaced by concepts such as "culture and education' and 'moral teaching". This does not mean that there was a lack of established policy concepts and codes of conduct in cultural construction. On the contrary, since the tenth year of the reign of Shunzhi, the Qing court formulated a cultural policy of "advocating Confucianism and adhering to Confucian doctrine", incorporating traditional Chinese cultural concepts into political practice, and gradually forming the policy of 'promoting culture and education' and 'revering scripture and art' in subsequent dynasties. For instance, in the ninth year of the Kangxi reign，"The Sixteen Rules by the Emperor“ and the compilation of the ''Siku Quanshu'' during the Qianlong reign were all important practice of "advocating Confucianism and adhering to Confucian doctrine". --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 10:45, 5 November 2021 (UTC)

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

在文化政策的范畴中，“崇儒重道”有其衍生物，如科举取士、博学鸿词等，而访求、编纂书籍，以及翻译汉文典籍等也是其重要内容。清代的汉籍（书）翻译既面对“四书”、“五经”等儒学典籍，也面对《金瓶梅》、《西厢记》等通俗作品。清代的汉籍（书）翻译系清代政治、文化事业的重要组成部分。

In the realm of cultural policy, the principle of “Reverence to Confucianism” had its derivatives, for instance, the imperial examination and the Boxue hongci section. The collection and compilation of books, as well as the translation of Chinese classics, were also important parts of cultural policies. The translation of Han books in the Qing dynasty dealt with both Confucian texts, such as ''the Four Books'' and ''the Five Classics'', and popular works, such as ''The Golden Lotus'' and ''The Western Chamber''. Thus the translation of Han books was an important part of the political and cultural undertakings of the Qing dynasty. --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 10:47, 5 November 2021 (UTC)

In the field of cultural policies，there are some things derived from the principle of “Reverence to Confucianism”，like imperial examination ， the Boxue hongci section and so on，while the collection and compilation of books, as well as the translation of Chinese classics, were also important parts of cultural policies. The translation of Han books in the Qing dynasty not only include the Confucian texts，such as ''the Four Books'' and ''the Five Classics''，but also involve those secular works such as 'The Golden Lotus'' and ''The Western Chamber'' and so on.The translation of the Han books in Qing dynasty is an important part to consist the political and cultural undertakings of Qing dynasty.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 09:08, 10 November 2021 (UTC)

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

从背景上看，汉籍（书）的翻译一方面得益于统治者反复提倡“国语骑射”的基本国策，以维护满洲根本于不坠，另一方面则得益于文化整合的需要，即，统治者通过翻译学习汉族文化，汲取汉人的治国理政经验，建构政权稳定和国家长治久安所需的“治统”与“道统”。通过引导与规范汉籍（书）的翻译，统治者不仅使满、汉文化互通有无，阐明法度，维护正统，端正满洲的人心风俗，而且以译书作为临政规范，撷取帝王为政之道，完善国家治理理念与模式。
From the perspective of its background，the translation of the books of Han dynasty，from the one hand，was benefited from the basic recurrent national policy of “National language and ride” to prevent Manchu from falling，from the other hand，it was benefited from the necessity of culture unification，that is to say，the ruler learns Han’s culture，absorbs Han’s ruling experience and build the “ruling rule” and “moral rule” in need for the stabilization of the policy and safety from translation.Through leading and controlling the translation of Han books，the ruler not only connects Man and Han ’s culture，protects the royalty，corrects the customs of Man，but also perfects the national ruling modes by learning the ruling methods of the ruler under the control of translation.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 12:22, 9 November 2021 (UTC)

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

藉由汉籍（书）的翻译，统治者既能成功了解汉族文化，又能以思想为治术，建构政权的合法性，实现满洲政权向中原政权的历史转化，并在接触和学习汉文化中获得“统制”汉民的重要经验，实现“治统”与“道统”的和谐统一，最大限度地保障统治集团的既得利益。一、《金瓶梅》的创作题材与历史地位。中国古典小说中，有“四大奇书”之称。

Through translating the classical books from Han people, the ruler of Qing government could not only understand their culture successfully, but also validate the legitimacy of Manchu regime via the thoughts of governance arts in order to realize the historical transformation from Manchu regime into the Central Plains regimes, gain important experience to "rule" Han people in the process of contacting and learning from their culture, achieve the harmonious uniformity between "Zhi Tong" (rule the country by traced to the same origin) and "Dao Tong" (rule the country by Confucianism) as well as safeguard the vested interest in Manchu ruling clique to the greatest extent. 1. the creative theme and historical status of ''The Golden Lotus''. In Chinese classical novels, it was known as "the Four Marvelous Books".

Through the translation of the classical books in Han (the Central Plains) language, the rulers in Qing Dynasty could not only gain deep insight into their culture, but also validate the legitimacy of the Manchu regime via taking advantage of thoughts to govern the country, so as to realize the historical transition from Manchu regime to the Central Plains regime, to obtain important experience of "ruling" Han (Central Plains) people, to achieve the harmonious unity of "Zhi Tong" (to rule the country by tough measures) and "Dao Tong" (to govern the country by ethics and Confucianism), as well as to proetct the vested interest of ruling regime to the highest degree. 1. The Creative Themes and Historical Status of ''The Golden Lotus''. In Chinese classical novels, there are the so-called "Four Marvelous Books".--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 14:59, 2 November 2021 (UTC)

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

所谓“四大奇书”，按照李渔、周永保等人的说法，是指《金瓶梅》、《三国演义》、《水浒传》、《西游记》等四部明代小说作品，这些作品皆成书于明代年间，代表的是中国古典小说的四种不同形态，即历史类、传奇类、神魔类，以及世情类。作为“四大奇书”之首，《金瓶梅》究竟成书于何时，学界尚有不同说法。有人认为是明代嘉靖年间，如屠本畯的《山林经济籍》，也有人认为是万历年间，如郑振铎的《谈金瓶梅词话》、车锡伦的《<金瓶梅词话>中的宣卷》，以及黄霖的《<金瓶梅>漫话》等。

According to scholars like Li Yu and Zhou Yongbao, the so-called "Four Marvelous Books" refer to the four novels in Ming Dynasty, including ''The Golden Lotus'', ''The Romance of the Three Kingdoms'', ''Outlaws of the Marsh'', and ''Journey to the West''. These works were finished in Ming Dynasty and represent the four different forms of Chinese classical novels, namely, the historical, the legendary, the supernatural evil-spirit, and the realistic (or human-feelings). However, there are still various views in the academic circle on the completing time of ''The Golden Lotus'' which has been considered as the first of the "Four Marvelous Books". Some think that it was written in Ming Dynasty under the reign of Emperor Jiajing when Tu Benjun's ''Guide to Live in Seclusion'', for example, was also finished; while others believe that it was the period during the reign of Emperor Wanli that witnessed the completion of ''The Golden Lotus'', with the subsequent advent of ''Notes and Comments on The Golden Lotus'' created by Zheng Zhenduo, ''Xuan Juan (Precious Scroll for Propaganda) in Notes and Comments on The Golden Lotus'' by Che Xilun, as well as ''Informal Discussion on The Golden Lotus'' by Huang Lin, and etc. --[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 23:58, 31 October 2021 (UTC)

According to scholars like Li Yu and Zhou Yongbao, the so-called "Four Marvelous Books" refer to the four novels in Ming Dynasty, including ''The Golden Lotus'', ''The Romance of the Three Kingdoms'', ''Outlaws of the Marsh'', and ''Journey to the West''. These works were finished in Ming Dynasty and represented the four different forms of Chinese classical novels, namely, the historical, the legendary, the supernatural evil-spirit, and the realistic (or human-feelings). However, there are still various views in the academic circle on the completing time of ''The Golden Lotus'' which has been considered as the first of the "Four Marvelous Books". Some think that it was written in Ming Dynasty under the reign of Emperor Jiajing when Tu Benjun's ''Guide to Live in Seclusion'', for example, was also finished; while others believe that it was the period during the reign of Emperor Wanli that witnessed the completion of ''The Golden Lotus'', with the subsequent advent of ''Notes and Comments on The Golden Lotus'' created by Zheng Zhenduo, ''Xuan Juan (Precious Scroll for Propaganda) in Notes and Comments on The Golden Lotus'' by Che Xilun, as well as ''Informal Discussion on The Golden Lotus'' by Huang Lin, and etc.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 15:50, 2 November 2021 (UTC)

==毛优 Máo Yōu 俄语语言文学女 202120081515==

无论是何种观点，都不可否认《金瓶梅》在中国古典小说中的历史地位。《金瓶梅》无疑是中国古典小说发展史上的经典之作，不仅在创作题材上突破了传统模式，将叙述的焦点从豪杰和妖魔转移至市井人物，人物塑造上也出现了从单色调向多色调、平面化向立体化的转变。同时，创作主旨上也有重要突破，即不再专注于歌颂理想，而是通过写尽世情之恶、生活之丑，暴露社会的黑暗与不公，现实主义特征极其明显。
Whatever the viewpoint, there is no denying the historical status of The Golden Lotus in classical Chinese fiction. The Golden Lotus is undoubtedly a classic in the history of classical Chinese fiction, not only in terms of its subject matter, which broke away from the traditional model, shifting the focus of the narrative from the heroes and demons to the characters in the marketplace, but also in terms of characterization, which changed from monochromatic to multi-colored and from flat to three-dimensional. At the same time, there is also an important breakthrough in the creative theme, that is, it no longer focuses on glorifying ideals, but exposes the darkness and injustice of society by writing about the evils of the world and the ugliness of life, and the characteristics of realism are extremely obvious.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 15:46, 2 November 2021 (UTC)

From every viewpoint, in classical Chinese fictions, the historical status of The Golden Lotus is apodeictic, not only in terms of its subject matter, which broke the traditional model, shifting the focus of the narrative from the heroes and demons to the common people, but also in terms of characterization, which changed from monochromatic to multi-colored and from flat to three-dimensional. At the same time, there is also an important breakthrough on the theme, namely, that it no longer focused on glorifying ideals, but exposed the darkness and injustice of society by writing about the evils of the world and the ugliness of life, through which the characteristics of realism are extremely obvious. --[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:32, 3 November 2021 (UTC)

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

刘廷玑认为，《金瓶梅》之所以称为奇书，是因为它深切人情要务。鲁迅在对“世情小说”进行界定时，曾指出《金瓶梅》描摹世态，见其炎凉，骂尽诸色，它虽然描写情色，却是要“以淫说法”，虽然结构铺张，但却是“引迷入悟”，既然是描写世情，便要“尽其情伪”，所谓刻露而尽相，或幽伏或含讥，诚极洞达而已。《金瓶梅》所描写的虽然是市井常谈、闺房碎语，但它寄意于时俗，极富感染力。

Liu Tingji believes that the reason The Golden Lotus is called a fantastic book is that it is deeply mundane. When Lu Xun defined the “worldly novel”, he pointed out that The Golden Lotus described worldly affairs, manifesting elusiveness of people and cursing all kinds of ugliness. Although it described eroticism, it was meant to “speak out as lewdness”. Although the structure is extravagant, it is “leading confusion into realization”. Since it is a description of the worldly affairs, it must be “full of sentiment and hypocrisy”. It is said that boldness results in completeness, which is sincere and insightful whether in a humorous or sarcastic way. Although The Golden Lotus is all about the commonplaces in the markets and boudoirs, it is greatly contagious because of its connotations behind the times and customs.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 12:54, 30 October 2021 (UTC)

Liu Tingji believes that the reason ''The Golden Lotus'' is called a fantastic book is its profound insight into the human condition. When Lu Xun defined the “secular novel”, he pointed out that ''The Golden Lotus'' described secular affairs, with a revelation of the indifference of people and an accusation of the eroticism. Although it describes erotic scenes, it is meant to “making sense with lust”. Although the structure is extravagant, it “leads confusion into realization”. Since descriptions in the book relate to secular affairs, they must be “full of sentiment and hypocrisy”, which means uncovering the essence and revealing its full complexity, with either insinuation or innuendo, just for achieving a precise communication of insights. Even though ''The Golden Lotus'' is all about the commonplaces in the markets and boudoirs, it is greatly contagious because of its connotations behind the times and customs.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 16:14, 2 November 2021 (UTC)

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

明、清之际，虽然《金瓶梅》向被列为禁书，但时人对其的艺术手法和思想内容等，却评价甚高，甚至不乏将其与《左传》、《史记》、《汉书》等并列者，认为这些作品都是“以其文皆为写生者也”的杰出代表。明代博物学家谢肇淛（zhè）曾向人借抄《金瓶梅》，并为此书撰写序跋，其中详细论及此书所具有的广泛的揭示性，认为它描写的是一个丑陋、黑暗的世情社会，既有“市里之猥谈”，又有“狎客之从臾逢迎”，所谓“穷极境象，駴（hài）意快心。”无论如何，都不能将《金瓶梅》视作“秽书”，而枉顾其对于炎凉情态的纤毫毕现，既看不到它的一腔愤懑，又看不到它的刺世与劝戒之意。

During the Ming and Qing dynasties, although ''the Golden Lotus'' was always banned, its artistic approach and ideological content were highly regarded by the people of the time, and there was even no shortage of people who ranked it alongside ''the Zuo Tradition'', ''the Records of the Grand Historian'' and ''the Book of Han'', considering these works to be outstanding representatives of "those whose texts are all written for the purpose of writing life". Xie Zhaozhe, a Ming dynasty naturalist, once borrowed ''The Golden Lotus'' from others and copied it. He wrote a preface to the book, in which he discussed in detail the book's broad scope of revelation, arguing that it depicted an ugly, dark society, with both "the obscene words of marketplace villains" and "the flattery of treacherous people". It is a 'straightforward and unadorned account of all life'. In any case, ''the Golden Lotus'' should not be regarded as an 'obscene book', and its subtle expression of the inconstancy of human relationships should not be taken in vain, nor its indignation, nor its stinging and admonishing intentions.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 02:46, 30 October 2021 (UTC)

During the Ming and Qing dynasties, although ''The Plum in the Golden Vase'' was always banned, its artistic approaches and ideological contents were highly regarded by the people of that time, and there was even no shortage of people who ranked it alongside ''the Zuo Tradition'', ''the Records of the Grand Historian'' and ''the Book of Han'', considering these works to be outstanding representatives of "those whose texts were all written for the purpose of writer’s life". Xie Zhaozhe, a Ming dynasty naturalist, once borrowed ''The Plum in the Golden Vase'' from others and transcribed it. He also wrote a preface for this book, in which he discussed in detail the book's broad scope of revelation, arguing that it depicted an ugly, dark society, with both "the obscene words of marketplace villains" and "the flattery of treacherous people". It was a 'straightforward and unadorned account of all life'. In any case, ''The Plum in the Golden Vase'' should not be viewed as an 'obscene book', its subtle expression of the inconstancy of human relationships should not be taken in vain, nor its indignation, nor its stinging and admonishing intentions.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 06:56, 30 October 2021 (UTC)

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

有人说，《金瓶梅》是《红楼梦》之祖，其题材主旨、人物刻画、情节结构等均为后者所继承，它虽然以家庭为中心，却又与天下、国家紧密相连，虽然恣意描写原始欲望，却又同时拷问人性的本质，其作为白话世情小说之首，可谓实至名归。一代伟人毛泽东也说，《金瓶梅》是《红楼梦》的祖宗，没有前者，就写不出后者，充分肯定了《金瓶梅》在中国古典文学中的历史地位。《金瓶梅》具有劝戒意涵，而不是或者不仅仅是淫词小说，这一点对于清代文士而言，亦是人所共知之事。

It is said that ''The Plum in the Golden Vase'' is the ancestor of ''A Dream in Red Mansions'', because the latter inherited all from the first in the perspective of selecting materials, themes, characterization and plot structure. Although ''The Plum in the Golden Vase'' was centralized on family, it also nearly attached to the world and country. Ranking on top of vernacular love novels, this book was haphazardly described with original desire but it also put questions on the essence of the nature of human beings which lived up to its name. Mao Zedong, a great man of a generation, also said, “''The Plum in the Golden Vase'' is the ancestor of ''A Dream in Red Mansions''. Without the former, the latter couldn’t be written.”which fully affirmed its historical position in Chinese classical literature. ''The Plum in the Golden Vase'' ,not or not just a pornographic novel, was replete with exhortation meaning which was known by all common people from the perspective of literati of Qing dynasty.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 08:12, 28 October 2021 (UTC)

It is said that ''The Plum in the Golden Vase'' is the ancestor of ''A Dream in Red Mansions'', because the latter inherited all from the first in the perspective of selecting materials, themes, characterization and plot structure. Although ''The Plum in the Golden Vase'' was centralized on family, it also nearly attached to the world and country. Ranking on top of vernacular love novels, this book was haphazardly described with original desire but it also put questions on the essence of human nature which lived up to its name. Mao Zedong, a great man of a generation, also said, “ ''The Plum in the Golden Vase'' is the ancestor of ''A Dream in Red Mansions''. Without the former, the latter couldn’t be written.”which fully affirmed its historical position in Chinese classical literature. ''The Plum in the Golden Vase'' full of persuation meaning was not or not just a pornographic novelwas which was known by all the literati of Qing dynasty.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 02:55, 30 October 2021 (UTC)

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

如欣欣子在《金瓶梅词话序》中所说，《金瓶梅》一书不同于《三国演义》，它不是从正面塑造人物形象，使其合乎传统人伦道德，实现教化目的，而是通过对酒色财气的重墨渲染，警戒世人远离情色，其目的同样在于“明人伦，戒淫奔，分淑慝（tè），化善恶”，这一点与《三国演义》殊途而同归。而在《金瓶梅·序》中，作者亦明确指出该书的“劝戒”之意，所谓“一回一戒”，因而“百回中以为百劝”。

As Xin Xinzi said in the series of notes and comments of ''The Plum in the Golden Vase'', this novel was different from the ''The Romance of the Three Kingdoms'', it was not from the positive view to shape the character image, so that it would conform to the traditional ethics and morality, and then achieved the goal of indoctrination. But through the heavy playing up of wine , women , avarice and pride to warn human beings away from eroticism, its purpose was also “correcting human relations, dropping elopement, distinguishing the good and evil”, which reached the same goal by different ways as ''The Romance of the Three Kingdoms''. While in the series of ''The Plum in the Golden Vase'', the author also clearly pointed out the book’s “persuasion” meaning, the so-called “one chapter once again exhorting”，and therefore “one hundred times in the hundreds of persuasion.”--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 02:51, 30 October 2021 (UTC)

As Xin Xinzi mentioned in the series of notes and comments of ''The Plum in the Golden Vase'', this novel was different from the ''The Romance of the Three Kingdoms'', it did not shape the character image from the positive view, so that it would conform to the traditional ethics and morality, and then achieve the goal of indoctrination, but warn human beings away from eroticism through the heavy playing up of wine , women , avarice and pride, its purpose was also “correcting human relations, dropping elopement, distinguishing the good and evil”, which reached the same goal by different ways as ''The Romance of the Three Kingdoms''. While in the series of ''The Plum in the Golden Vase'', the author also clearly pointed out the book’s “persuasion” meaning, the so-called “one chapter once again exhorting”，and therefore “one hundred times in the hundreds of persuasion.”--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 14:12, 30 October 2021 (UTC)

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

清人中，对于《金瓶梅》进行诋毁、谩骂者，亦有之。如蒲松龄称其为“淫史”，邹弢称其为“淫书”，邱炜萲（xuān）则认为其“淫媟（xiè）荡志”，无论在内容上，还是在文笔上，都不足以“负此重名”。《蕉轩随录》中，方浚师甚至将《金瓶梅》和《水浒传》看作无用之书，认为二者之中一个倡盗，一个诲淫，有害于世道人心。

In the Qing Dynasty, there were also people who slandered and criticized ''Gold Vase Plum''. For instance, Pu Songling regarded it as a ''History of obscenity'', Zou Tao thought it a pornographic book, and Qiu Weixuan held that it is full of debauchery which indicate that it is not worth bearing such a great reputation no matter in content or style of writing. In ''Records of Jiaoxuan'', Fang Junshi even regarded ''Gold Vase Plum'' and ''Water Margin''as useless books, and the former is story of furious robbers while the latter is a story inciting pornography, so both of them would do harm to the people in the world.

In the Qing Dynasty, there were also people who slandered and criticized “Gold Vase Plum”. For instance, Pu Songling regarded it as “History of Obscenity “, Zou Tao thought it a pornographic book, and Qiu Weixuan held that it was full of debauchery. “Gold Vase Plum” was not worthy of bearing such a great stigma either in content or in style. In “Records of Jiao Xuan”, Fang Junshi even regarded “Gold Vase Plum” and “Water Margin” as useless books, one of which was about stories of advocating the theft while the other of which was related to plots inciting pornography, so both of them would do harm for enlightening the people in the world. --[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 07:47, 28 October 2021 (UTC)

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

而晴川居士、申涵光、李绿园等亦持论相似，认为《金瓶梅》丧心败德，它对于幼学者的影响如同疫病，其害甚大。沈德符、徐谦、林昌彝等更是主张禁毁此书，认为此书有如毒草和毒酒，贻害无穷。清初以来，朝廷对于淫词小说的禁毁从未间断。

And Qingchuan Lay Buddhist, Shen Hanguang, Li Luyuan, etc. held similar viewpoints, believing that “Gold Vase Plum”, infecting people’s pure soul and moral integrity, played an ill impact on young scholars. Shen Defu, Xu Qian, Lin Changyi, etc. even advocated banning and destroying this book, holding that it was parallel with poisonous weeds and wine which would cause endless harm.Since the early Qing Dynasty, the imperial court had never stopped the prohibition and destruction of obscene novels. --[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 08:08, 28 October 2021 (UTC)

And Qingchuan Lay Buddhist, Shen Hanguang, Li Luyuan, etc. held the similar viewpoints that ''Gold Vase Plum'' infected people’s pure soul and moral integrity and played an ill impact on young scholars,which is very harmful. Shen Defu, Xu Qian, Lin Changyi, etc. even advocated banning and destroying this book, holding that it was parallel with poisonous weeds and wine which would cause endless harm.Since the early Qing Dynasty, the imperial court had never stopped the prohibition and destruction of obscene novels.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 06:49, 2 November 2021 (UTC)

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

仅顺治至嘉庆年间，禁毁次数便超过十次，其中顺治朝一次（顺治九年）、康熙朝六次（康熙二年、二十六年、四十年、四十八年两次、五十三年）、雍正朝一次（雍正二年）、乾隆朝一次（乾隆三年），以及嘉庆朝二次（嘉庆十五年、十八年）等。康熙年间，清廷关于淫词小说的禁毁极其严格，既有法令可依，又有专门管理，惩处明确。如康熙二年议准，规定嗣后若有翻刻琐语淫词，有伤风化者，由科道、督抚查明实情，交部议处。

The obsecene novels had been destroyed for more than ten times just from the Shunzhi Dynasty to the Jiaqing Dynasty.Among them,there was one time in the Shunzhi Dynasty (the 9th year of Shunzhi) , six times in Kangxi Dynasty (the 2nd, 26th,40th,48th and 53rd year of Kangxi),one time in Yongzheng Dynasty(the 2nd year of Yongzheng),one time in Qianlong Dynasty(the 3rd year of Qianlong) and two times in Jiaqing Dynasty(the 15th,18th year of Jiaqing)，ect.During the Kangxi Dynasty,the goveronment was very strict with the prohibition and destruction of obscene novels,which was based on the decrees and was managed specially,and the published was clear.For example,there was an announcement in the 2nd year of Kangxi,which claimed that if there was someone who translated or carved the gossips and obscene words which was destructive to the morals,it would be examined by the department and governor and be submitted to the ministry.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 06:43, 2 November 2021 (UTC)

The obsecene novels have been destroyed and banned for more than ten times just from Shunzhi to Jiaqing years. Among them, there was one time in Shunzhi Dynasty(the 9th year) , six times in Kangxi Dynasty (one time in the 2nd, 26th, 40th and 53rd year, two times in the 48th year), one time in Yongzheng Dynasty(the 2nd year), one time in Qianlong Dynasty(the 3rd year) and two times in Jiaqing Dynasty(the 15th,18th year), etc. During the reign of Kangxi, the goveronment was very strict with the prohibition and destruction of obscene novels, with both laws to follow and special management, as well as the clear punishment. For example, there was an announcement in the 2nd year of Kangxi, which claimed that if someone translated or carved the gossips and obscene words which was harmful to morals, the case would be examined by the supervising officials and governors, then submitted to the ministry. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 15:03, 2 November 2021 (UTC)

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

乾隆三年，吏部议定“文禁”条例，对于坊间内小说淫辞，也一并严行禁绝，并根据买卖双方是否具有官方身份给予不同处罚。与此同时，《买看例》、《市卖例》、《禁止邪教不能察辑例》等法令的通过，也给淫词小说的翻刻与兜售等，提供了治罪依据。而以江苏、浙江为代表的地方官府，也相继出台法令，对淫词小说的编次、刊刻、贩卖等一并加以规定，照例治罪。

In the third year of Emperor Qianlong’s reign, Board of Civil Office agreed on the regulation of “prohibition of literature”, and strictly forbade the obscene fictions in the street, giving different punishments according to whether the buyers and sellers had official identities. At the same time, the passage of decrees such as ''Rules of Buying and Reading'', ''Rules of Selling'' and ''Rule of Banning Cults from Collecting'' also provided a criminal basis for the reproduction and peddling of obscene novels. Local governments represented by Jiangsu and Zhejiang also issued decrees one after another, stipulating the compilation, printing and selling of fictions and convicting them according to the rules. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 10:55, 28 October 2021 (UTC)

In the third year of Emperor Qianlong's reign, the Ministry of Civil Affairs agreed on the regulation of "prohibition of literature", and strictly prohibited the fictions in the street, and gave different punishments according to whether the buyers and sellers had official identities. At the same time, the passage of laws such as "Buying and watching", "Selling" and "Banning Cults from Observing and collecting" also provided a criminal basis for the reproduction and peddling of erotic ci novels. Local governments represented by Jiangsu and Zhejiang also issued decrees one after another, stipulating the compilation, printing and selling of fictions with lewd words, as usual--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:08, 3 November 2021 (UTC)

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

根据上述法令，《金瓶梅》曾多次入列禁毁书单，如《劝毁淫书征信录》、《得一录》中，便均见此书。

二、《金瓶梅》译者考辨

然而，政府法令对淫词小说的禁毁并没有阻绝《金瓶梅》的翻刻与行销。

According to the above decree, "Jin Ping Mei" has been listed on the list of forbidden books, such as "persuade the destruction of obscene books zhengxin Lu", "de Yi Lu", will see this book.
Two, the translation of Jin Ping Mei
However, the prohibition of erotic novels by government decrees did not stop the reproduction and marketing of Jin Ping Mei--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:00, 3 November 2021 (UTC)

According to the above laws and regulations, "Jin Ping Mei" has been included in the list of forbidden books for many times, such as persuade the destruction of obscene books zhengxin Lu", "de Yi Lu".
2、 On the translators of Jin Ping Mei
However, the prohibition of pornographic novels by government laws and regulations did not prevent the reproduction and marketing of Jin Ping Mei.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 12:40, 7 November 2021 (UTC)

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

有人说，《金瓶梅》的名声是被“禁”出来的，这种观点是否合理姑且不论，不过《金瓶梅》之所以能有不同版本流传至今，本身就说明其禁毁政策的失败。而且，清代关于《金瓶梅》的禁毁有其虚伪性：一方面，政府对于此书严行禁毁；另一方面，却将其译成满文，供统治阶级自己阅读。正如马丁·吉姆指出的那样，有清一代，汉文小说被译成满文者，至少在七十二种以上，其中便包括《金瓶梅》、《西厢记》、《三国演义》等，这些小说的翻译显然无法离开统治者的支持，或者至少无法离开其默认。

Some people say that the reputation of Jin Ping Mei is from its prohibition. Whether this view is reasonable or not, but the reason why different versions of Jin Ping Mei have been circulated so far shows the failure of its prohibition policy. Moreover, the prohibition and destruction of Jin Ping Mei in the Qing Dynasty had its hypocrisy: on the one hand, the government strictly prohibited the destruction of the book; On the other hand, it was translated into Manchu for the ruling class to read. As Martin Jim pointed out, there were at least 72 kinds of Chinese novels translated into Manchu in the Qing Dynasty, including Jin Ping Mei, The Romance of The West Chamber, The Romance of The Three Kingdoms, etc. Obviously, the translation of these novels could not leave the support of the rulers, or at least its acquiescence.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 12:39, 7 November 2021 (UTC)

Some people say that the reputation of ''Gold Vase Plum'' is from its prohibition. Whether this view is reasonable or not, the reason why different versions of ''Gold Vase Plum'' have been circulated so far shows the failure of its prohibition policy. Moreover, the prohibition and destruction of ''Gold Vase Plum'' in the Qing Dynasty had its hypocrisy: On the one hand, the government strictly prohibited the destruction of the book; On the other hand, it was translated into Manchu for the ruling class to read. As Martin Jim pointed out, there were at least 72 kinds of Chinese novels translated into Manchu in the Qing Dynasty, including ''Gold Vase Plum'', ''The Romance of The West Chamber'', ''The Romance of The Three Kingdoms'', etc. Obviously, the translation of these novels could not leave the support of the rulers, or at least its tacitly approval. --[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 02:30, 3 November 2021 (UTC)

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

除《三国演义》（1650年刊印）之外，满译本《金瓶梅》是清初唯一得到刊印的汉文小说。由于译文自然流畅，对于生活的描述真实贴切，该译本被公认为满语文学的杰出代表之一。然而，《金瓶梅》的满文翻译究竟源自什么样的背景，其通行译本的底本究竟是哪种版本或刻本，该译本到底有几个译者，以及该译本为何能在禁令颁行之后的短短数年之内便能刊行于世等，皆存疑问与争议。

Besides ''Romance of the Three Kingdoms'' (composed and printed in 1650), Manchu translation of ''Gold Vase Plum'' was the only composed and printed Chinese novel in the early Qing Dynasty. Because of the natural and frequent translation as well as real and proper description of life, this kind of version was widely acknowledged as one of the outstanding representatives of Manchu literature. However, it was still doubtful and controversial about the background of the Manchu translation of ''Gold Vase Plum'', how many translators it had, and why it was composed and printed soon after the bans were published. --[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 12:29, 29 October 2021 (UTC)

Besides ''Romance of the Three Kingdoms'' (printed in 1650), the Manchu translation of ''The Golden Lotus'' is the only Chinese novel that got printed in the early Qing Dynasty. Because of the natural and fluent translation as well as the real and proper description of life, this translation is widely acknowledged as one of the outstanding representatives of Manchu literature. However, there are still doubts and controversy about these questions：What is the background of the Manchu translation of ''The Golden Lotus''? Which version is the original source for the translation? How many translators does the translation have? Why the translation was printed soon after it was banned?--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 03:16, 4 November 2021 (UTC)

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

根据昭梿在《啸亭续录》中的说法，《金瓶梅》的满文翻译系出自户曹郎中和素之手，后者谙习清文，兼通汉文，他所翻译的汉文书籍达到了绝精的程度，而《西厢记》、《金瓶梅》等书的译本也是“疏栉字句，咸中綮（qǐ）肯”，人人争相诵读。和素为满洲镶黄旗人士，曾充任皇子师傅和翻书房总裁，系顺治年间满文翻译家阿什坦次子。作为满洲汉书翻译事业高潮中的重要人物，和素一生著译甚多，其中有名者如《左传》、《菜根谭》、《黄石公素经》等，而相传《金瓶梅》亦出自其手，主要原因有二。

According to the content of Zhaolian' s ''Continuation of Xiaoting'', the Manchu translation of ''The Golden Lotus'' was made by Hesu who was the chief official in Hucao. Hesu not only mastered Manchu language but also possessed the knowledge of Chinese. His translation of Chinese books attained a really high level. His translations of ''Romance of the Western Chamber'' and ''The Golden Lotus'' were so faithful that people read them competitively. Hesu, who was from Bordered Yellow Banner in Manchuria, once took the official position of teacher for royal children and president of Fanshu house. In addition, he was the little son of Ashtan who was a Manchu translator in Shunzhi years. As an important figure in the climax of the cause of translating Chinese books in Manchuria, Hesu translated a lot of books including famous works such as ''Legend of Spring and Autumn Century by Zuo Qiuming''，''Roots of Wisdom'', ''Huang Shigong Scripture'' and so on. It is said that the translation of ''The Golden Lotus'' was also made by him. Here are two main reasons.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 02:03, 4 November 2021 (UTC)

According to the statements in Zhaolian' s ''Continuation of Xiaoting'', ''The Golden Lotus'' in Manchu was translated by Hesu who was the official office in charge of people's households, ancestral temples, agriculture, mulberry and also was the chief imperial chamberlain. Hesu was not only skilful at the Qing language but also proficient in Chinese. His translation of Chinese books has reached the point of absolute perfection. Besides, in his translations of ''The Romance of Western Chamber'' and ''The Golden Lotus'', he also trimmed the words, sentences and got to the main point so that everyone strived to read and recite these works. Hesu, a Bordered Yellow Banner in Manchu, was once in the position of the master of the emperor's son and the president of the Translation Study. In addition, he was the second son of Ashtan who was a Manchu translator during the years of Shunzhi. As an important figure of the climax in the course of translating Chinese books into Manchu, Hesu translated a great number of books including some famous works such as ''Zuozhuan''，''Tan Roots'', ''Huangshi Gongsu Meridian'' and so on. What's more, it was said ''The Golden Lotus'' was also translated by him. There were two main reasons.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 03:04, 5 November 2021 (UTC)

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

其一，便是和素兼通满、汉，其本人确系康熙朝的著名翻译家，曾亲自组织、参与诸多汉籍的翻译；其二，如上述昭梿的《啸亭续录》一样，清初档案文献中确有不少将满译《金瓶梅》归于和素者。《啸亭杂录》和《清稗类钞》中，也称赞和素翻译的《金瓶梅》和《西厢记》等“极其出色”。然而，也有持论不同者。如《批本随园诗话》“批语”中说：“翻译《金瓶梅》，即出徐蝶园手。”

Firstly, it was because Hesu was proficient in both Manchu and Chinese, he himself was indeed a famous translator of the Kangxi Dynasty. Besides, he has personally organized and participated in the translation of many Chinese books. Secondly, just like Zhaolian’s ''Continuation of Xiaoting'' above, in the archives and documents of the early Qing Dynasty, quite a few people owed the translation of ''The Golden Lotus'' in Manchu to Hesu. In ''Miscellaneous Records of Xiaoting'' and ''Clean Barnyard Class Notes'', the author also praised Hesu’s translations of ''The Golden Lotus'' and ''Romance of the Western Chamber'' as “excellent”. However, there were people who held different views. Like the “remarks” in ''Essays of Suiyuan on Poetry'' which said that ''The Golden Lotus'' was translated by Xu Dieyuan.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 06:44, 1 November 2021 (UTC)

First of all, it was because Hesu was proficient in both Manchu and Chinese, and at the same time participated in lots of translations. He himself was indeed a famous translator of the Kangxi Dynasty. Besides, he has personally organized and participated in the translation of many Chinese books. Secondly, just like Zhaolian’s ''Continuation of Xiaoting'' above, in the archives and documents of the early Qing Dynasty, quite a few people owed the translation of ''The Golden Lotus'' in Manchu to Hesu. In ''Miscellaneous Records of Xiaoting'' and ''Clean Barnyard Class Notes'', the author also praised Hesu’s translations of ''The Golden Lotus'' and ''Romance of the Western Chamber'' as “excellent”. However, there were people who held different ideas. Like the “remarks” in ''Essays of Suiyuan on Poetry'' which said that the translator of ''The Golden Lotus'' was Xu Dieyuan.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 11:43, 1 November 2021 (UTC)

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

徐蝶园即徐元梦，满洲正白旗人，康熙朝重臣，康熙十二年进士，选授庶吉士，先后于雍正、乾隆两朝充任《明史》总裁，以及《清世宗实录》副总裁。徐蝶园精研满汉文，曾于康熙年间署大学士，充起居注讲官，但正史中对于徐氏的译书活动记载较少，而且往往语焉不详，因此难以判断其译者身份。叶德均在《戏曲小说丛考》中，也援引伍子舒（闽浙总督伍拉纳之子）所撰《随园诗话》点校本中的说法，指出《金瓶梅》的满文译者即是徐蝶园，但这一观点始终不如前一种通行。

Xu Dieyuan was Xu Yuanmeng, a native of the Manchu flag, a high-ranking official of Kangxi, and was Scholars in the twelfth year of Kangxi. He was appointed the president of the ''Ming Dynasty'' in Yongzheng and Qianlong and the vice president of the ''Records of the Qing Dynasty''. Xu Dieyuan studied Chinese literature. He worked as a college scholar during the reign of Kangxi and made charge of daily life. However, the translation activities of Xu in official history are few, and often vague, so it is difficult to judge the identity of the translator. In the ''Cong Examination of Opera Novels'', Ye Dejun also quoted Wu Zishu (the son of Wu Lana, governor of Fujian and Zhejiang) in the ''Poetry of the Garden'', pointing out that the Manchu translator of ''The Golden Lotus'' is Xu Dieyuan, but this view is always not as popular as the previous one. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 11:44, 1 November 2021 (UTC)
Xu dieyuan, namely Xu Yuanmeng, a native of Manchuria's Zhengbai banner, was an important Minister of the Kangxi Dynasty. He was elected as a scholar in the 12th year of the Kangxi Dynasty and was awarded to Shu Jishi. He successively served as president of the history of the Ming Dynasty and vice president of the records of emperor Shizong of the Qing Dynasty in the Yongzheng and Qianlong dynasties. Xu dieyuan is a master of Chinese. He once served as a bachelor and a lecturer during the reign of Kangxi. However, there are few records of Xu's book translation activities in official history, and they are often vague, so it is difficult to judge his translator's identity. Ye Dejun also quoted the view in the school edition of Suiyuan poetry written by Wu Zishu (the son of Wu Lana, governor of Fujian and Zhejiang) in his collection of opera novels, pointing out that the Manchu translator of Jin Ping Mei is Xu dieyuan, but this view is not as popular as the former.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 12:07, 1 November 2021 (UTC)

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

徐蝶园晚年的确参与过翻译之事，但满译本《金瓶梅·序》的署理日期为康熙四十八年，而徐蝶园此前曾经两度被诏罪入狱，因而由他翻译此书，条件上似乎不大成立。而且，徐蝶园虽然精研满汉双语，但其中年后精研理学，这一点与《金瓶梅》的题材内容和思想旨趣，以及序言中对于该书的积极评价等，也不尽符合。与此同时，更有认为满译本《金瓶梅》系出自皇族成员者，这种观点主要见于西方学者，又分成两派。
Xu dieyuan did participate in translation in his later years, but the acting date of the Manchu translation of Jin Ping Mei · preface is the 48th year of Kangxi. Xu dieyuan had been jailed for imperial edicts twice before, so it seems that the conditions for him to translate the book are not tenable. Moreover, although Xu dieyuan studied both Manchu and Chinese, he studied Neo Confucianism in his middle age, which is not consistent with the theme, content and ideological purport of Jin Ping Mei, as well as the positive evaluation of the book in the preface. At the same time, it is also believed that the Manchu version of Jin Ping Mei comes from members of the royal family. This view is mainly seen in western scholars and divided into two schools.

Xu Dieyuan did participate in the translation in his later years, but the full translation of Jin Ping Mei · Preface was written in the 48th year of The Kangxi Dynasty, and Xu Dieyuan had been sentenced to prison twice before, so it seems unlikely that he could translate this book. Moreover, although Xu Dieyuan concentrates on studying Both Manchu and Chinese, he concentrates on neo-confucianism in the second half of the year, which is not in accordance with the subject matter and ideological purview of Jin Ping Mei, as well as the positive evaluation of the book in the preface. At the same time, there are more people who believe that the full version of Jin Ping Mei is from the royal family, which is mainly seen in western scholars and divided into two schools.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 12:39, 7 November 2021 (UTC)

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

其中，一派认为是出自康熙皇帝的兄弟，如黎马苏（1833：182-183）、克拉普罗特（1633：61）、怀利（1855：XLIII）、加伯连茨（1862：543）、圣德尼斯和赫维侯爵（1894：17）、格鲁伯（1909：431）、劳弗尔（1908：32）、耶格尔（1935：539），以及鲍威尔（1974：1940-1941）等；另一派则认为是出自乾隆皇帝的某个兄弟，如加伯连茨（1879：171）、格列宾西科夫（1879：171）、莫连道尔夫（1890：235）、扎查（1905：130），以及李福廷和西蒙诺夫（1981：259）等。上述两派观点多次出现在欧洲的文学作品中，但二者都缺乏史料考证，至少未能获得中国学界的重视与认可。

Among them, one group attributed it to the brothers of Kangxi Emperor, such as Li Masu (1833:182-183), Clavprot (1633:61), Wylie (1855: XLIII), Gabelenz (1862:543), Saint Denis and the Marquis of Herve (1894:17), Gruberb (1909:431), Lauffer (1908:32), Yeager (1935:539), and Powell (1974:1940 -- 1941); while the other attributed it to the brothers of the Qianlong Emperor, such as Gabrenz (1879:171), Grebinshikov (1879:171), Mollendolf (1890:235), Zacha (195:130), and Li Futing and Simonov (1981:259).These two different viewpoints have appeared many times in European literary works, but both of them lacked historical evidence which failed to win the attention and recognition of Chinese scholars.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 12:11, 1 November 2021 (UTC)

Among them, one group thought it was from the brothers of Kangxi Emperor, such as Li Masu (1833:182-183), Clavprot (1633:61), Wylie (1855: XLIII), Gabelenz (1862:543), Saint Denis and the Marquis of Herve (1894:17), Gruberb (1909:431), Lauffer (1908:32), Yeager (1935:539), and Powell (1974:1940 -- 1941); while the other thought it was from one of the brothers of the Qianlong Emperor, such as Gabrenz (1879:171), Grebinshikov (1879:171), Mollendolf (1890:235), Zacha (195:130), and Li Futing and Simonov (1981:259).These two different viewpoints have appeared many times in European literary works, but both of them lacked historical evidence which failed to win the attention and recognition of Chinese scholars.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 00:38, 2 November 2021 (UTC)

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

考虑到康、雍以来的历代君主对于淫词小说一直采取禁毁态度，而在此情形下竟有皇族成员翻译《金瓶梅》这样的禁毁小说，其荒唐之程度，难以想象。但不论实际情形如何，《金瓶梅》最终还是译成付梓，这一事实只能说明两点：其一，清代的所谓书禁或禁译只是针对民间，对统治者尤其是君主而言则可能是“无禁”；其二，翻书房的设立固然是为了翻译汉族经典和汉文书籍，但也不能排除翻译禁毁书籍，专供皇帝御览。总之，《金瓶梅》的满文翻译与刊刻，不可能游走在政府禁令之外，而不得到政治力的审查、默认或者首肯。

Considering that the monarchs of Qing dynasties since Kangxi and Qianlong have always adopted the attitude of banning and destroying pornographic novels, and in this case, it is unimaginable that royal family members translate forbidden novels such as The Golden Lotus. However, regardless of the actual situation, the fact that The Golden Lotus was finally translated and published can only explain two points: firstly, the so-called prohibition of some books or translation in the Qing Dynasty was only aimed at the folk, and it may be "no prohibition" for the rulers, especially the monarchs; Secondly, although the establishment of the translation study is to translate Han classics and Chinese books, it can not rule out the prohibition of the translation of books for the emperor's viewing. In a word, the Manchu translation and publication of The Golden Lotus can not walk outside the government ban without political review, acquiescence or approval.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 13:26, 29 October 2021 (UTC)

Considering that the monarchs of Qing dynasties since Kangxi and Qianlong have always adopted the attitude of banning and destroying pornographic novels, and in this case, it is unimaginable that royal family members translate forbidden novels such as The Golden Lotus. However, regardless of the actual situation, the fact that The Golden Lotus was finally translated and published can only explain two points: firstly, the so-called prohibition of some books or translation in the Qing Dynasty was only aimed at the folk, and it may be "no prohibition" for the rulers, especially the monarchs; Secondly, although the establishment of the translation study is to translate Han classics and Chinese books, it can not rule out the prohibition of the translation of books for the emperor's viewing. In a word, the Manchu translation and publication of The Golden Lotus can not walk outside the government ban without political review, acquiescence or approval.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 11:09, 30 October 2021 (UTC)

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

特别是在康熙朝以后皇权至上的集权政治中，离开了最高统治者的支持，任何汉籍的翻译恐怕都无法成行。事实上，虽然淫词小说的禁毁乃是清代长期的文化政策，但政府在推进、执行这一政策的过程中，也存在不作为或者消极作为的情况。正如余治在《得一录》中所说，清廷对于淫词戏曲，虽有禁毁之条，而当政者中视其为一纸空文，坐视不管者，亦大有人在。

Especially in the centralized politics where imperial power reigned supreme after the Kangxi dynasty, I am afraid that no translation of Chinese books could be made possible without the support of the supreme ruler. In fact, although the prohibition of obscene novels was a long-standing cultural policy of the Qing Dynasty, there were cases of government inaction or passive action in promoting and implementing this policy. As Yu Zhizhi says in "The Record of the First", although the Qing court had a prohibition on the destruction of obscene words and operas, there were many people in power who regarded it as a piece of paper and sat on it.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 11:07, 30 October 2021 (UTC)

Especially in the centralized politics where imperial power reigned supreme after the Kangxi’s reign, I am afraid that no translation of Chinese works could be come out without the support of the supreme ruler. In fact, although the prohibition of obscene novels was a long-standing cultural policy of the Qing Dynasty, there were cases of government inaction or passive action in promoting and implementing this policy. As Yu Zhi says in "The Record of the First", although the Qing court had a prohibition on the destruction of obscene poems and operas, there were many people in power who regarded it as a piece of paper and sat by and did nothing.--[[User:Xiong Min|Xiong Min]] ([[User talk:Xiong Min|talk]]) 07:11, 1 November 2021 (UTC)

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

乾隆三年，朝廷在颁布禁毁之令时，即关注到了地方官府执行不力的情况，认为这是导致禁毁失败的主要原因。而政府的消极作为主要来自两方面的原因，其一是所谓“人情”，即人之本性，其二是小说本身的应世性，即有助于市民在长期遭受禁欲主义后宣泄情绪。正是由于人心、人情难禁，因而《金瓶梅》的翻译与刊刻便有了生存空间。

In the third year of Qianlong’s reign, the court issued the restraining order and noticed the inefficiency of local governments, which was believed as the main cause of failure. The government’s working inefficiency resulted from two reasons. One was “renqing” which is human nature. The other was the practicality of novel, which did help citizens alleviate pressure after being depressed for a long time. It was human nature that made the translation and publication of “The plum in the Golden Vase” possible.

In the third year of Qianlong’s reign, the court issued the restraining order and noticed the inefficiency of local governments which was believed as the main cause of failure. The government’s working inefficiency resulted from two reasons. One was “RenQing” which is represent human nature. The other was the practicality of novel, which did help citizens alleviate pressure after being depressed for a long time. It was human nature that made the translation and publication of ''The plum in the Golden Vase'' has room for survival.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:50, 4 November 2021 (UTC)

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

正如王汝梅先生所说，康熙年间政府一再严谨淫词小说，而以满文翻译《金瓶梅》，其工程可谓浩大，因而该书的翻译不可能只是民间行为。恰恰相反，《金瓶梅》的翻译势必是得到了康熙帝御准的，由翻书房具体策划和实施的“计划内工程”。《金瓶梅》的满文译本成书于康熙四十七年，全书共计四十卷一百回，其存本与抄本被分别收藏于国家图书馆、中央民族大学图书馆、中国社科院民族研究所、北京民族文化宫、大连图书馆、吉林大学图书馆，并另有赵则诚先生藏本一部。

As Mr. Wang Rumei said, during the Kangxi period, the government repeatedly banned pornographic novels, and the task of translating Jin Ping Mei into Manchu was huge. Therefore, the translation of jin Ping Mei could not be just a folk act. On the contrary, the translation of Jin Ping Mei must have been approved by Emperor Kangxi and specifically planned and implemented by Fanshufang. The Manchu translation of Jin Ping Mei was completed in the 47th year of Kangxi, with a total of 40 volumes and 100 chapters. Its deposits and transcripts are collected in the National Library, the Central University for Nationalities Library, the Institute of Ethnic Studies of the Chinese Academy of Social Sciences, Beijing National Culture Palace, Dalian Library, and Jilin University Library, and one copy in the collection of Mr. Zhao Zecheng.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 06:20, 28 October 2021 (UTC)

As Mr. Wang Rumei said, during the Kangxi period, the government repeatedly banned pornographic novels, and the task of translating ''The Plum in the Golden Vase'' into Manchu was huge. Therefore, the translation of ''The Plum in the Golden Vase'' could not be just completed by the folks. On the contrary, it must have been approved by Emperor Kangxi and specifically planned and implemented by Translation Office. The Manchu translation of ''The Plum in the Golden Vase'' was completed in the 47th year of Kangxi, with a total of 40 volumes and 100 chapters. Its deposits and transcripts are collected in the National Library, the Central University for Nationalities Library, the Institute of Ethnic Studies of the Chinese Academy of Social Sciences, Beijing National Culture Palace, Dalian Library, and Jilin University Library, and one copy in the collection of Mr. Zhao Zecheng.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 03:41, 2 November 2021 (UTC)

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

上述藏本中，既有刊本，又有抄本，其中多数又为残本。如前所述，关于《金瓶梅》满文译本到底出自何人之手，学界长期存在争议，其中原因无疑与译本序言中并未明确译者姓名有关。同时，译本序言本身又缺乏作者，使得译本的归属如同原著的作者一样更加扑素迷离。

Among the above collections, there are both printed and copied edition, most of which are fragmentary. As mentioned above, there has been a long-standing controversy in the academic circles about who wrote the Manchu translation of ''The Plum in the Golden Vase'', which is undoubtedly related to the fact that the name of the translator is not clear in the preface of the translation. At the same time, the preface itself lacks the author, which makes the ownership of the translation more blurred like the author of the original.

which is undoubtedly connected with the fact that the name of the translator is not clear in the preface of the translation.
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 12:48, 7 November 2021 (UTC)

==颜莉莉 Yán Lìlì 国别女 202120081537==

虽然如此，一般仍认为和素即是该书的译者，一则是因为昭梿的《啸亭杂录》和《啸亭续录》中均提及此事，且昭梿本人又是皇族之后，其所言所记当属可信。另一方面，康熙四十七年，和素曾奉敕纂成《清文鉴》一书，而《金瓶梅》的满文译本刊印于康熙四十五年，其序言的刊行时间则与《清文鉴》的成书时间相同，二者的编纂和翻译时间相距较短，期间必有关联。王汝梅先生在和候忠义先生合编《金瓶梅资料汇编》一书时，曾经从赵则诚先生处借得满文本《金瓶梅》，并请刘厚生先生将满文序文译成汉语，认为该序言表明译者即是和素。

However, it is still generally believed that He Su was the translator of the book, partly because Zhaofan's "Xiao Ting Miscellaneous Records " and "Xiao Ting Miscellaneous Records·Sequel" are mentioned in this matter, and Zhaofan himself is a descendant of the royal family, what he said should be credible. On the other hand, in the 47th year of the Kangxi dynasty, He Su was ordered by the Emperor to write the ''Imperial Code of Qing Wen Jian'', and the Manchu version of Jin Ping Mei was published in the 45th year of the Kangxi dynasty. The publishing time of its preface was the same as that of the ''Imperial Code of Qing Wen Jian''. The compilation and translation time of the two is relatively short, so there must be a correlation between them. When Mr. Wang Rumei and Mr. Hou Zhongyi were co-editing the ''Jin Ping Mei Data Collection'', he borrowed the full text of ''Jin Ping Mei'' from Mr. Zhao Zecheng and asked Mr. Liu Housheng to translate the Manchu preface into Chinese, believing that the preface indicated that the translator was He Su.
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 08:31, 30 October 2021 (UTC)

Nevertheless, it is generally believed that Hesu is the translator of the book. On the one hand, it is mentioned in Zhaohe's miscellaneous records of Xiaoting and continuation of Xiaoting, and after Zhaohe himself is a royal family, his words and records are credible. On the other hand, in the 47th year of Kangxi, Hesu was compiled into qingwenjian by imperial edict, while the Manchu translation of Jin Ping Mei was published in the 45th year of Kangxi. The publication time of its preface is the same as that of qingwenjian. The compilation and translation time between them is short, and the period must be related. When Mr. Wang Rumei and Mr. Hou Zhongyi jointly compiled the compilation of Jin Ping Mei materials, he once borrowed the full text of Jin Ping Mei from Mr. Zhao Zecheng and asked Mr. Liu housheng to translate the Manchu preface into Chinese. He believed that the preface showed that the translator was a harmony element.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 07:09, 7 November 2021 (UTC)

==颜子涵 Yán Zǐhán 国别女 202120081538==

但满文本《金瓶梅》序言中，介绍的主要是该书的故事梗概，明确指出了该书的劝戒之意，并有“是以令其译之”，以及“余趁闲暇之时作了修订”等语，但由于序言本身缺乏作者，因而此处所说的“其”（即译者）系指谁，且该译者又是受“令”于谁等，皆成疑问。然而，满文本《金瓶梅》确系译自崇祯本《金瓶梅词话》，同时参照了张竹坡的《金瓶梅》点评本，这一点已成共识。众所周知，张评本《金瓶梅》刊刻于康熙三十四年，其底本同样是崇祯本《金瓶梅词话》，而满译本《金瓶梅》成书于康熙四十五年，前后相距十三年。

However, the preface of the Manchu text ''The Plum in the Golden Vase'' mainly introduces the story outline of the book, It clearly points out the meaning of the book's admonition, and has the words "to make it translated" and "I revised it in my spare time". But due to the lack of author in the preamble, It is doubtful who is the "Qi" (the translator) refers to here, and whose "command" the translator has received. However, the Manchu text ''The Plum in the Golden Vase'' is indeed translated from Chongzhen's ''Jin Ping Mei CI Hua'', and also refers to Zhang Zhupo's comment on ''The Plum in the Golden Vase'', which has become a consensus. As we all know, Zhang Ping's ''The Plum in the Golden Vase'' was published and engraved in the 34th year of Kangxi, and its base copy is also Chongzhen's ''Jin Ping Mei CI Hua'', while the Manchu translation of ''The Plum in the Golden Vase'' was completed in the 45th year of Kangxi, 13 years apart.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 02:31, 29 October 2021 (UTC)

However, the preface of ''The Plum in the Golden Vase'' in the Manchu translation mainly introduces the outline of the book, explicitly points out that the meaning of the book's admonition and that has the words "to make it translated" and "to revise it in spare time". But due to the lack of author in the preface, It is doubtful who is the translator in it, and whom "command" the translator. However, However, it has become a consensus that the Manchu version of ''The Plum in the Golden Vase'' is indeed translated from Chongzhen edition of ''Ci hua of Jin Ping Mei'', with reference to zhang Zhupo's commentary edition of ''The Plum in the Golden Vase''. As is known to all, Zhang's ''The Plum in the Golden Vase'' was printed in the 34th year of the Reign of Emperor Kangxi, and its original version is also the Edition of ''The Plum in the Golden Vase'' in the period of Emperor Chongzhen, while the Manchu version of ''The Plum in the Golden Vase'' was completed in the 45th year of the Reign of Emperor Kangxi, 13 years apart.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 12:17, 7 November 2021 (UTC)

==阳佳颖 Yáng Jiāyǐng 国别女 202120081540==

在此期间，虽然该书的满文翻译到底缘起于何时，仍不得而知，但考虑到译者对于底本的比堪与研究，其翻译的过程势必绵长。三、《金瓶梅》翻译中的意识形态审查。不同于《三国演义》中“文不甚深，言不甚俗”的语言特点，《金瓶梅》中充斥着大量情色描写。

During this period, although the exact origin of the Manchu translation of this book remains to be find, considering the translator’s comparison and research on the original, the process of translation is bound to be long. Third, the ideological review in the translation of ''The Plum in the Golden Vase''. Different from ''the Romance of The Three Kingdoms'', in which the writing is not too abstruse and the words are not vulgar, ''The Plum in the Golden Vase'' is flooded with erotic descriptions.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 02:39, 29 October 2021 (UTC)

During this period, although the exact time of the Manchu translation of "The Plum in the Golden Vase" is still unknown, considering the translator's comparison and research on the original text, the translation process is bound to be a long period. Third, The ideological review in the translation of "The Plum in the Golden Vase". Different from the linguistic characteristics of "The Romance of the Three Kingdoms", in which the writing is not too abstruse and the words are not vulgar", "The Plum in the Golden Vase" is full of erotic descriptions., --[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 01:47, 6 November 2021 (UTC)

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

同时，虽然《金瓶梅》的满文译本最终成书于康熙年间，但统治者对于此书的翻译讳莫如深，这一点也明显不同于《清实录》等文献中关于清初诸帝好读《三国演义》，并敕译此书的历史现实。态度上的前后转变，其中必有起因。正如丁原基在《清代康雍乾三朝禁书原因之研究》中所说，清代各朝之所以频兴文字狱，其中原因虽不尽相同，但亦必有之。例如，康熙初年，明朝遗老怀故国之思者甚多，其所撰作品自然入禁毁之列。

At the same time, although the Manchu translation of "The Plum in the Golden Vase" was finally written in the Kangxi period, the rulers were extremely reticent about the translation of this book. It is also obviously different from the fact stated in "Factual Record of Qing Dynasty" and other documents that the rulers in the early Qing Dynasty were fond of reading "The Romance of the Three Kingdoms" and they ordered their ministers to translate the historical reality of this book. There must be a cause for the change in attitude. As Ding Yuanji said in "Research on the Reasons for the Officially Banned Books in the Three Periods of Kang, Yong and Qian in Qing Dynasty", the reasons for the frequent rise of literary inquisition in various periods of Qing Dynasty were a little bit different, but still there were some reasons behind it. For example, in the early years of Kangxi, there were many old adherents of the Ming dynasty who missed their country.As a result, their works were forbidden and destroyed.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 01:31, 6 November 2021 (UTC)

At the same time, although the Manchu translation of "The Plum in the Golden Vase" was finally completed in the Kangxi period, the rulers were extremely reticent about the translation of this book,which is also obviously different from the fact stated in "Factual Record of Qing Dynasty" and other documents that the rulers in the early Qing Dynasty were fond of reading "The Romance of the Three Kingdoms" and they ordered their ministers to translate the historical reality of this book. There must be a cause for the change in attitude. As Ding Yuanji said in "Research on the Reasons for the Officially Banned Books in the Three Periods of Kang, Yong and Qian in Qing Dynasty", the reasons for the high frequency of literary inquisition in various periods of Qing Dynasty were a little bit different, but still there were some reasons behind it. For example, in the early years of Kangxi, there were many old adherents of the Ming dynasty who missed their country.As a result, their works were forbidden and destroyed.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 02:43, 6 November 2021 (UTC)

==杨堃 Yáng Kūn 法语语言文学女 202120081542==

康熙仙逝，雍正得其帝位，然而由于朝野疑窦重重，政权未稳，朝廷对于舆论也倍加留心。乾隆年间，虽然朝廷奉敕开设四库馆，博取奖励学术的美名，但禁书之苛刻同样无出其右。如康熙朝初期，由于圣祖表彰理学，故而御纂朱子全书，以及群经性理诸编。

Kangxi passed away and Yongzheng won his throne. However, due to the doubts of the royal court and the instability of his regime, the court paid more attention to public opinion. During the period of Qianlong, although the royal court set up Four Storehouses, which won the reputation of rewarding scholarship, the harshness of banned books was also unparalleled. For example, in the early period of the Kangxi, because Kangxi commended Neo-Confucianism, Qianlong ordered to compile the complete books of Zhu Zi and the Confucian classics.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 12:53, 29 October 2021 (UTC)

Kangxi passed away and Yongzheng succeeded to the throne. However, due to the doubts of the royal court and the instability of his regime, the court paid more attention to public opinions. During the reign of Qianlong, although the royal court set up Four Storehouses, which won the reputation of rewarding scholarship, the harshness of banned books was still incomparable. For example, in the early period of Kangxi Dynasty, the emperor ordered to compile the complete books of Zhu Zi and the Confucian classics because the founding emperor commended Neo-Confucianism.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 03:26, 3 November 2021 (UTC)

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

康熙二十五年，上谕礼部及翰林院，指出经学史乘务必以“修齐治平，助成德化者方为有用”，而“有乖经术，异端邪说”，则概不准录。即是在此背景下，南怀仁的《穷理学》译本因为实属“诡言邪说”、“语既不经”，也遭到禁毁。此次遭到禁毁的《穷理学》二书译成于康熙二十二年，共六十卷，由南怀仁于同年八月进呈御览。
In the 25th year of the Reign of Emperor Kangxi,the Ministry of Rites and Literati House have been ordered that Confucian classics and books about official history "cannot be called useful unless they are for the purpose of improving self-cultivation and governance of country and helping people to become virtuous"; "those deviated from Confucian classics and those heresies" will not be embodied. It was in such an background that the translation of "Philosophy of pursuing truth" by Nan Huairen was banned and destroyed because it was regarded as "paradoxical, heretical and unorthodox". The books of "Philosophy of pursuing truth" which were banned and destroyed had been translated in the 26th year of the reign of Kangxi Dynasty,consisting of 60 volumes, which Nan Huairen submitted to the imperial review in August of the same year.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 03:02, 3 November 2021 (UTC)

In the 25th year of the Reign of Emperor Kangxi,the Ministry of Rites and Literati House have been ordered that the Confucian classics and historical books "must be useful for the purpose of improving self-cultivation, of the stable governance of country and of helping people to be virtuous"; "those deviated from Confucian classics and those heresies" can not be included. It was exactly in such background that the translation of "Philosophy of pursuing truth" by Nan Huairen was banned and destroyed for it was regarded as "paradoxical, heretical and unorthodox". The two books of "Philosophy of pursuing truth" banned and destroyed were translated in the 26th year of the reign of Kangxi Dynasty,consisting of 60 volumes, which Nan Huairen later submitted to the imperial review in august of the same year.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 14:16, 6 November 2021 (UTC)

==叶维杰 Yè Wéijié 国别男 202120081544==

所谓《穷理学》，用徐宗泽的话说，便是“论理学”，该书或译自亚里士多德哲学中的某一部分，或续译傅汎际（Francois Furtado）、李之藻合译的《名理探》。南怀仁在进呈此书译本的奏折中指出：进穷理学之书，以明历理，以广开百学之门，永垂万世事。窃惟治历明时，为帝王之首务；今我皇上治历明时，超越百代，如太阳之光，超越诸星之光。
The so-called ''Qiongli Xue'' is considered “views about science ” in Xu Zongze's opinion. The book Qiongli Xue is either translated from a certain part of Aristotle's philosophy, or a continuation of the translation of "Ming Li Tan" by Francois Furtado and Li Zhizao. Nan Huairen pointed out in the memorial to the translation of this book: By the thorough studying of the books of science, from the understanding of all the science theory in the past, with the establishment of every subject, to the reigning in forever time. Maintaining the stability of society is emperor's first task. Now our reignment is stable and prosperous, no dynasty else could compete, as every star dims before the glory of great sun.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 13:59, 6 November 2021 (UTC)

The so-called "QiongLiXue ", in the words of Xu Zongze, is the "theory of science", the book is either translated from a part of Aristotle's philosophy, or continue to translate the translation of Francois Furtado, Li Zhizao's translation of the "name and theory of exploration". Nan Huairen in the submission of the translation of this book, pointed out: into the book of poor science, in order to understand the calendar, in order to widely open the door of a hundred studies, eternal things. The emperor's first task is to rule the calendar and to understand the time; now our emperor rules the calendar and understands the time, beyond a hundred generations, like the light of the sun, beyond the light of the stars.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 12:44, 7 November 2021 (UTC)Yi Yangfan

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

然盖历法有属法之数，有立法之理，设惟有其法之数，而无其法之理，即如人惟有形体，而无灵性，亦如诸天惟有定所，而无运动之照临焉。夫历理为诸星恒动定规之所由，如泉源为水流之之所自也。……今我皇上之治历，已为全备，其书则有永年历表，有灵台仪象志，有诸历之理指一百五十余卷。

However, the calendar has the number and theory of the law. If there is only the number of the law, but don’t have the theory, that is, as a person only has a body without spirituality, and as the sky only has a fixed place, but no movement of the illumination. The calendar for the constant movement as the stars move the rules of the origin, or as the water flow from the source...Nowadays, our emperor's calendar has been fully prepared, and its books include the calendar of eternal years, the spiritual platform, and more than one hundred and fifty volumes of the calendar.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 07:22, 3 November 2021 (UTC)Yi Yangfan

However, the calendar has both the number and theory of the law. If there is only the number of the law, but don’t have the theory, that is, as if a person only has a body without spirituality, and as if the sky only has a fixed place, but no movement of the illumination. The design for calendar is because of the constant movement of the stars, just as the water flow from the source...Nowadays, our emperor's calendar has been fully prepared, and its books include the calendar of eternal years, the spiritual platform, and more than one hundred and fifty volumes of the calendar.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 08:34, 3 November 2021 (UTC)

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

历典光明，可谓极矣。然臣犹有请者，非为加历理之内光，惟加历理之外光，将所载诸书之历理，开穷理之学，以发明之，使习历者知其数，并知其理，而后其光发见于外也。《穷理学》虽然翻译了亚里士多德的演绎推理等理论，但它也翻译了古希腊的自然哲学内容，以及近代西方的科学知识，因而并非专门的逻辑学译著。

The compilation of the calendar has reached its peak in this dynasty. However, I still have something to present, not aiming to complement the calendar but to further promote it. I will record books on calendar theory and create a study of calendar theory, so as to create new methods on it, so that people who study calendar can know the number of calendar and its principle, and then carry forward the calendar.
Although ''Thorough Iquiry into Physics'' translated Aristotle's theories like deductive reasoning, it also translated the natural philosophy of ancient Greece and modern western scientific knowledge, so it is not a special translation for logic.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 02:24, 3 November 2021 (UTC)

The grandness of the compilation of the calendar is unparalled. However, I still have something to present, aiming not to complement the calendar but to further promote it. I will record books on calendar theory and create a study of it, so that people who study calendar can know both the number and principles of the calender, and then carry it forward .
Although the translation of Aristotle's theories like deductive reasoning were included in ''Thorough Inquiry into Physics'', so were the natural philosophy of ancient Greece and modern western scientific knowledge. Therefore it is by no means a mere translation for logic.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 01:43, 5 November 2021 (UTC)

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

《影响中国近代社会的一百种译著》中，曾有人将《穷理学》看作《名理探》的补译，认为南怀仁翻译此书，只是为了证明“目的论”这一经院哲学中的基本概念，这一观点显然值得商榷。《穷理学》译本中，固然摄入了逻辑学、方法论等形而上学的内容，但同时也摄入了力学、数学等自然科学知识。上文中，南怀仁借进呈《穷理学》译本之际，极力宣陈修历的重要性，并将“穷理学”看作“百学之宗”，认为它有如砺石，可以之试真；有如蘑堪，可以之订非；有如眼目，可以之明悟。

In the book ''One Hundred Translations that influenced Modern Chinese Society'', some people viewed ''Thorough Inquiry into Physics'' as a supplementary translation of ''Dialectic'', and that Nan Huairen's purpose of translating the book was to prove Skopos Theory, a basic concept in Scholasticism, which is obviously worth discussing. It's true that contents of metaphysics like logic and methodology were included in the translation of ''Thorough Inquiry into Physics'' ,but so were knowledge of natural sciences like mechanics and mathematics alike. In the above article, Nan Huairen made an utmost effort to claim the importance of revising calendar. He regarded ''Thorough Inquiry into Physics'' as " the center of one hundred schools" ,which is like a burr that could distinguish the genuine from the fake, an exam that could tell problems and the eyes that could see things through.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 00:54, 5 November 2021 (UTC)

In ''One Hundred Translations that influenced Modern Chinese Society'', some people regarded ''Thorough Inquiry into Physics'' as a supplementary translation of ''Dialectic'', and that Nan Huairen's purpose of translating the book was to prove Skopos Theory, a basic concept in Scholasticism, which is obviously worth discussing. It's true that the contents of metaphysics like logic and methodology were included in the translation of ''Thorough Inquiry into Physics'' ,but so were knowledge of natural sciences like mechanics and mathematics alike. Above the content, Nan Huairen made an great effort to stress the importance of revising calendar and regarded ''Thorough Inquiry into Physics'' as " the center of one hundred schools" ,which is like a burr that could distinguish the genuine from the fake, an exam that could correct wrongs and the eyes that could see through things.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 12:37, 7 November 2021 (UTC)

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

概言之，便是“诸学之首需者”。康熙二十二年，《穷理学》完成编译，同年八月二十六日进呈康熙皇帝。康熙帝御览此书后，曾降旨礼部和翰林院，敕令其“会同详看议奏”，但士大夫们经过议复之后，不少人对此抱持异议，其中甚至有强烈抵触者，因而康熙帝只能将此书译本退还南怀仁。

In a word, what is needed is what should be learning first. In the twenty-second year of Kangxi, the complication of ''Through Inquiry into Physics'' was finished and submitted to the Emperor Kangxi on the August 26th the same year. After reading this book, the Emperor Kangxi had ordered the Ministry of Rites and the Imperial Academy to gather to read and discuss in detail. But after the discussion of scholar-bureaucrats, many people agreed, even some of them had strong resistance about it. Therefore, the Emperor Kangxi had to return this complication to Nan Huairen.

In a word, what is needed is what should be learning first. In the twenty-second year of Kangxi, the compilation of ''Through Inquiry into Physics'' was finished and submitted to the Emperor Kangxi on the August 26th the same year. After reading this book, the Emperor Kangxi had issued a imperial decree gathering the Ministry of Rites and the Imperial Academy to read and discuss in detail. But after the discussion of scholar-bureaucrats, many people disagreed, even some of them had strong resistance about it. Therefore, the Emperor Kangxi had to return this compilation to Nan Huairen.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 09:37, 3 November 2021 (UTC)

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

格物致知的书籍尚且如此，诲淫诲盗的小说更不用说。仍以《金瓶梅》的满文翻译与传播接受为例，即可知此。众所周知，大清立国之后，虽然制度上有不少因袭明代之处，但文化政策整体偏紧。

This was the case with books which studied phenomena to acquire knowledge , not to mention novels on prostitution and piracy. Still taking the translation and dissemination of "Jin Ping Mei" in Manchu as an example, we can know that. As we all know, after the establishment of the Qing Dynasty, although the system had inherited from that of the Ming Dynasty a lot, but the overall cultural policies were a little bit tight.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 09:27, 3 November 2021 (UTC)
The same is true of books about physical knowledge, not to mention novels about obscene deeds. --[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 15:01, 4 November 2021 (UTC)

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

康熙年间，由于皇帝热衷儒学，后又在汉官劝谏下将兴趣引导至理学方向，因而对君德圣学、政教纪纲等，尤为重视。康熙九年，圣祖颁布《圣训十六条》，强调教化为先，而非法令为亟，其中便对所谓“近见风俗日敝，人心不古”的情形进行训斥。为此，康熙帝敕令内、外文武各官，务必“敦孝弟以重人伦”，“黜异端以崇正学”，“明礼让以厚风俗”，要求他们“督率举行”。

During the reign of Kangxi, because the emperor was keen on Confucianism, he later guided his interest to the direction of Neo Confucianism under the advice of Han officials, so he paid special attention to the study of Jun De Sheng and the discipline of politics and religion. In the ninth year of Kangxi's reign, the emperor Shengzu promulgated the sixteen articles of the holy sermon, which emphasized the importance of education rather than laws and regulations. Among them, he reprimanded the so-called situation of "seeing that the customs are getting worse and the people's hearts are not ancient". Therefore, Emperor Kangxi decreed that civil and military officials at home and abroad must "respect human relations", "dethrone heretics to uphold righteousness", "Ming rites and concessions to thick customs", and asked them to "supervise the holding of meetings".--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 08:15, 3 November 2021 (UTC)

During the reign of Kangxi, as the emperor was keen on Confucianism, he later guided his interest to the direction of Neo Confucianism under the admonish of Han officials, so he paid special attention to the study of Jun De Sheng and the discipline of politics and religion. Under the ninth year of Kangxi's reign, the emperor Shengzu promulgated ''the sixteen articles of the holy sermon'', which emphasized the importance of education rather than laws and regulations. Among them, he reprimanded the so-called situation of "seeing that the customs are getting worse and the people's hearts are not conventional anymore". Therefore, Emperor Kangxi decreed that civil and military officials at home and abroad must "respect human relations", "dethrone heretics to uphold righteousness", "learn rites and concessions to enrich customs", and asked them to "supervise and take the lead".--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 14:41, 5 November 2021 (UTC)

==张扬 Zhāng Yáng 国别男 202120081551==

康熙三十九年，圣祖亲征塑漠蒙古凯旋，并在太学立碑，其中又强调“以文德化成天下”的重要。康熙四十一年，圣祖颁布《训饬士子文》，再次声明“隆重师儒”、“厘剔弊端”、“务期风教修明”。上述谕令皆发生在满译本《金瓶梅》成书之前，无疑会对后者产生重要影响。

In the 39th year under the reign of Kangxi, Shengzu went on an expedition to Mongolian desert by himself and made a triumphant return, erecting a monument in the Imperial College, on which also emphasized the importance of "conquering the world with cultural and moral uprightness". In year 41, Shengzu the emperor promulgated ''Xunchi Shiziwen'', declaring that "to grandly teach Confucianism", "to eliminate malpractices" and "to cultivate morality and wisdom". All the above decrees took place before the completion of the full translation of ''Jin Ping Mei'', which will undoubtedly have an important impact on the latter. --[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 13:46, 2 November 2021 (UTC)

In the 39th year under the reign of Kangxi, Shengzu went on an expedition to Mongolian desert by himself and made a triumphant return, erecting a monument in the Imperial College, on which also emphasized the importance of "conquering the world with cultural and moral uprightness". In the 41th year under the reign of Kangxi, Shengzu the emperor promulgated ''''Xunchi Shiziwen'''', declaring that "to grandly teach Confucianism", "to eliminate malpractices" and "to cultivate morality and wisdom". All the above decrees took place before the completion of the full translation of ''The Golden Lotus'' which will undoubtedly have an important impact on the latter.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 07:17, 3 November 2021 (UTC)

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

康熙五十三年，上谕诸臣，指出“正人心”、“厚风俗”与“治天下”之间的关系，要求崇尚经学，严禁小说淫词。为此，朝臣奉旨议定条例，规定坊间一切小说淫词，务必悉数查绝，并将板片书籍予以销毁，违者从重治罪。在清廷严厉的禁书背景下，《金瓶梅》及其满文译本将会遭受何种命运，便不得而知。

In the fifty-third year of the Kangxi reign,an oracle was issued to all ministers，pointing out the relationship between “correcting the hearts of the people”，“thickening custom”and “ruling the world”，demanding that scripture be revered and that novels and obscene words be strictly forbidden. To this end,the imperial ministers were instructed to agree on regulations that all novels and obscene words must be eliminated from the streets and taht the books must be destroyed,and that offenders should be punished severely. Against the backdrop of the Qing court’s strict ban on books, it is not known what fate would befall ''The Golden Lotus'' and its Manchu translation.

In the fifty-third year of the Kangxi reign,an oracle was issued to all ministers，pointing out the relationship between “correcting people‘s minds”，“strengthening custom”and “ruling the empire”，demanding that scripture should be revered and novels and obscene words be strictly forbidden. So the imperial ministers were instructed to stipulate regulations that all novels and obscene words must be eliminated. And the books must be destroyed. All offenders should be punished severely. Against the backdrop of the Qing court’s strict ban on books, it is not known what fate would befall ''The Golden Lotus'' and its Manchu translation.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 14:56, 1 November 2021 (UTC)

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

自太祖朝以来，清初翻译汉文古典小说，皆以教化为主，而以文学性为次。统治者寄望于翻译的不是文学的审美作用，而是正确的价值观念和人伦纲纪思想。换言之，通过翻译，塑造道德，规范秩序，实现向善求真。

Since the Taizu Dynasty, the translation of Chinese classical novels in the early Qing Dynasty has mainly focused on enlightenment, partially on literariness. The rulers think that the purpose of translation is not for literary aesthetic，but for the establishing of correct values and ethics. In other words, through translation, we can shape morality, standardize order and realize the pursuit of goodness and truth.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 02:56, 28 October 2021 (UTC)

Since the Taizu Dynasty, the translation of Chinese classical novels in the early Qing Dynasty has mainly focused on moralization, partially on literariness. The rulers hope that the purpose of translation is not for literary aesthetic，but for the establishment of correct values and ethics. In other words, through translation, we can shape morality, standardize order and realize the pursuit of goodness and truth.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 01:52, 30 October 2021 (UTC)

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

而《金瓶梅》的翻译显然不具备以上作用，它既不像《四书》、《五经》的翻译那样能够启迪心性，荡涤灵魂，又不像《三国演义》般能够探求兵略，维护社会稳定。虽然《金瓶梅》中过于露骨的文字描述使得它不适合翻刻、刊行，但其满文译本最终仍得以成书，并流传于世，其中原因固然有多种可能，但统治者的首肯或默许必是其中之一。如黄润华在《满文翻译小说述略》中所说，满译本《金瓶梅》的问世，不论其译者为谁，或和素，或徐元梦，必定是获得了特别的许可，因而才能译成满文并刊刻行世。

But the translation of Jin Ping Mei obviously does not have the above functions. It is not like the translation of the Four Books and the Five Classics that can enlighten people’s mind, or like the Romance of the Three Kingdoms that can explore strategies and maintain social stability. Although the explicit description of Jin Ping Mei makes it not suitable for translation or publication, its Manchu translation is eventually translated into a book and has spread throughout the world. There are many possible reasons for it, but the consent or acquiescence of the ruler must be one of them. As Huang Runhua said in A Brief Review of Manchu Translated Novels, the publication of the Manchu version of Jin Ping Mei, no matter who the translator is, He Su or Xu Yuanmeng, must have obtained special permission to be translated into Manchu and published in the world.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 01:42, 30 October 2021 (UTC)

But the translation of Jin Ping Mei obviously does not have the above functions. It is not like the translation of the Four Books and the Five Classics that can enlighten people’s mind and purify their souls, or like the Romance of the Three Kingdoms that can explore strategies and maintain social stability. Although the obscene description of Jin Ping Mei makes it not suitable for translation or publication, its Manchu translation is eventually translated into a book and has spread throughout the world. There are many possible reasons for it, but the consent or acquiescence of the ruler must be one of them. As Huang Runhua said in A Brief Review of Manchu Translated Novels, the publication of the Manchu version of Jin Ping Mei, no matter who the translator is, He Su or Xu Yuanmeng, must have obtained special permission to be translated into Manchu and published in the world.--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 01:00, 31 October 2021 (UTC)

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

也只有得到最高统治者的默允，才不致因为擅自翻译刊印而受到惩处。事实上，早在顺治九年，清廷即出台明令，严禁翻刻琐语淫词。康熙二年，圣祖重申此禁，对淫词小说的利害关系晓之以理。

Only being granted the permission of the supreme ruler, can they free away from punishment for translating and printing obscene novel without authorization. In fact, in the ninth year of the Sun Zhi Period, Qing government issued public proclamation to prohibit translating obscene words. In the second year of Kang Xi Period, the emperor Kang Xi reaffirmed this order, which enabled the public to know the dangers of obscene novels.--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 05:24, 28 October 2021 (UTC)

Only being granted the permission of the supreme ruler, can they free away from punishment for translating and printing obscene novel without authorization. In fact, in the ninth year of the Shun Zhi Period, Qing government issued public proclamation to prohibit translating risque book. In the second year of Kang Xi Period, the emperor Kang Xi reaffirmed this injunction, which enabled the public to know the dangers of obscene novels.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 07:24, 29 December 2021 (UTC)

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

然而，由于大清入关之初，全国尚未完成一统，统治者的政策重心在于武力征伐和国家统一，为此便需要笼络人心，因而朝廷对于汉族小说及其翻译并未有多大偏见。昭梿在《啸亭杂录》中说，和素翻译绝精，由他所翻译的《金瓶梅》、《西厢记》等书广受好评，所谓“人皆争诵”，即可说明此点。康熙年间，虽然朝廷加大了对于淫词小说的禁毁，但大体而言，自顺治元年至康熙二十二年之间，由于朝廷文禁的重点在于政治倾向显著的作品，因而对于琐语淫词类小说的禁毁和惩处，影响较小。据石昌渝考证，清初小说中被朝廷查处论罪者，仅有两部，即《无声戏二集》和《续金瓶梅》。

However, at the time of the Qing dynasty's invasion, the whole country had not yet been unified, and the ruler's policy focus on military conquest and national unification, so the ruler needed to win the love of people. Therefore, the court did not have much prejudice against Han novels and their version of translation. In ''You pavilion miscellanea'' Zhao Lian said ''The Plum in the Golden Vase'','' Western chamber'' and other books translated by He’su were widely praised, reached the level of "everyone rushed to read", which can show Hesu’s superb translation level. During Kang-hee’s reign, the government strengthened the prohibition and destruction of the risque novel, but overall, from the first year of Shunzhi to Kangxi twenty-two years, due to the ban of imperial court was focused on political leanings remarkable work, the denial and punishment for the risque novel were mild. According to the Shi Changyu textual research, only two novels were prohibited and punished in early Qing Dynasty, which were ''Silent Drama 2'' and ''Sequel to the Plum in the Golden Vase''.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 07:23, 29 December 2021 (UTC)

However, at the beginning of Manchu entered the Shanhaiguan Pass, the unification of the whole country had not been completed, and the emperor focused on military expedition and national reunification. Therefore, the government did not have much prejudice against Han novels and their translation in order to win the supports of the people. In the The Miscellaneous Records of Xiaoting, Zhao zhe said that He Su was proficient in translation. His translations of Jin Ping Mei and the story of The West Chamber were widely praised. The so-called "everyone competes for recitation" can illustrate this point. During the Kangxi period, although the imperial court increased the prohibition and destruction of pornographic novels, generally speaking, from the first year of Shunzhi to the 22nd year of Kangxi, the imperial court focused on works with salient political tendencies. Accordingly, it had little impact on the prohibition and punishment of pornographic novels. According to Shi Changyu's research, there were only two novels in the early Qing Dynasty that were investigated and punished by the imperial court, namely, Silent Drama II and The Sequel to Jin Ping Mei.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 00:05, 31 October 2021 (UTC)--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 00:05, 31 October 2021 (UTC)

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

但需要指出的是，《续金瓶梅》之所以获罪，其原因不在于它续写《金瓶梅》人物在所谓“后世”中的混乱生活，而是因为它将满族的发祥地描写为人、兽同居同食的野蛮地。因而，清初之际，朝廷对于淫词小说的接受，以及对于小说创作的限制，整体上仍然较为宽松。而《金瓶梅》的翻译、成书乃是康熙朝中后期的事，此时的朝廷对于“端风俗、正人心”有了日益深刻的认识，因而不仅强化了思想控制，而且加强了对于小说翻译与小说创作的管制。

But what needs to be pointed out is that the reason why The Sequel of Jin Ping Mei was convicted is not because it continues the chaotic life of the characters in Jin Ping Mei in the so-called "later generations", but because it describes the birthplace of the Manchu as a barbaric place where people and animals live and eat together. However, at the beginning of the Qing Dynasty, the government 's acceptance of pornographic novels was relatively high and the restrictions on novel creation was still relatively loose on the whole. While the translation and completion of Jin Ping Mei was in the middle and late reign of Kangxi. At that time, the imperial court had an increasingly profound understanding of "stick to the customs and purify people's hearts", which not only strengthened the ideological control but the regulation of novel translation and creation.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 11:50, 28 October 2021 (UTC)

However, it should be pointed out that the reason why "Continued Jin Ping Mei" was convicted was not because it continued the chaotic life of the characters in "Jin Ping Mei" in the so-called "post generations", but because it described the birthplace of Manchu as the cohabitation of man and beast. The barbaric place of food. Therefore, at the beginning of the Qing Dynasty, the court's acceptance of pornographic novels and restrictions on novel creation were still relatively loose. The translation and completion of "Jin Ping Mei" was a matter of the middle and late Kangxi dynasty. At this time, the imperial court had a deeper and deeper understanding of "customs and morals", which not only strengthened ideological control, but also strengthened the translation and interpretation of novels. The control of novel creation.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 07:21, 1 November 2021 (UTC)

==周清 Zhōu Qīng 法语语言文学女 202120081558==

至乾隆初年，《金瓶梅》与《水浒传》等书因为诲淫诲盗的原因，又被“久干例禁”。满洲政权兴起于白山黑水之间，在其一路开疆辟土，驰骋向前的过程中，虽然统治者反复高唱“满汉一体”，但相关的政治、文化实践表明，这一说法不过是政治口号。作为满清政权恪守不变的政策，“首崇满洲”既是统治者立法、行政的基本原则，又是统治者处理民族关系、民族事务的圭臬。

In the early years of Qianlong, books such as "Jin Ping Mei" and "Water Margin" were again banned for a long time, because of their Obscene. The Manchurian regime emerged between the white mountains and black waters. In the process of pioneering territory and galloping forward, although the rulers repeatedly sang "Man and Han as one unit", relevant political and cultural practices have shown that this statement is nothing more than a political slogan. As a policy that the Manchu government adhered to unchanged, "first advocating Manchuria" was not only the basic principle of the ruler's legislation and administration, but also the ruler's standard for handling ethnic relations and ethnic affairs.

In the early years of Qianlong, books such as "Jin Ping Mei" and "Water Margin" were again banned for a long time, because of their obscene and illegal content . The Manchurian regime emerged between the white mountains and black waters-- the landscape of northeast China. In the process of pioneering territory and galloping forward, although the rulers repeated"Man and Han as one unit", relevant political and cultural practices have shown that it was nothing more than a political slogan. As the policy that the Manchu government stick "Manchuria First " was not only the fundamental principle of the ruler's legislation and administration, but also the standard for handling ethnic relations and affairs.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 09:12, 1 November 2021 (UTC)

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

终清一朝，统治者始终坚持满洲之道，固守满洲本位，崇尚满族特权，维护满洲的典章制度和文化特征。对统治者而言，传承与发展民族文化的重要性不言而喻，它不仅关系到国家政权的性质和满族民族的凝聚力与向心力，而且关系到满族统治集团的优势地位、特殊利益，乃至满族作为民族共同体的生死存亡。为此，满清政府不仅长期坚持“国语骑射”的基本国策，而且通过书籍的审查与禁毁等极端措施，确保满族文化符号和思想传统的专制。

In the Qing Dynasty, the rulers always adhered to the way of Manchu, insisted on Manchu standards, advocated Manchu privileges, and maintained Manchu institutions and cultural characteristics. For the rulers, the importance of inheriting and developing national culture was self-evident,which not only related to the Political Nature and the cohesion and solidarity of Manchu nation, but also related to the dominant position and special interests of Manchu ruling group, and even the survival of Manchu as a national community. Therefore, the Manchu government not only adhered to the basic state policy of "national language and ride" for a long time, but also ensured the despotism of Manchu cultural and ideological traditions by taking extreme measures such as censorship and prohibition of books.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 03:13, 29 October 2021 (UTC)

In the Qing Dynasty, the rulers always adhered to the way of Manchu, insisted on Manchu standards, advocated Manchu privileges,maintained Manchu ancient laws and regulations as well as cultural characteristics. For the rulers, the importance of inheriting and developing national culture was an understood thing,which not only related to the nature of the state power, the cohesion and solidarity of Manchu nation, but also related to the dominant position and special interests of Manchu ruling group, and even the survival of Manchu as a national community. Therefore, the Manchu government not only adhered to the basic state policy of "Mandarin Riding and Shooting" for a long time, but also ensured the despotism of Manchu culture symbol and ideological traditions by taking extreme measures such as censorship and prohibition of books.--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 10:25, 5 November 2021 (UTC)

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

与此同时，统治者积极敕撰、敕译汉族书籍，虽然客观上吸收了汉族文化，但这些书籍的编纂与翻译亦如满洲文化的维护一样，只是满洲权贵巩固政权统治的策略与手段，一旦书籍的翻译与编纂有悖于统治者的主观期待，亦或是国家的统治之需，其审查与禁毁即在所难免。结语。作为除《三国演义》之外清初唯一刊印的汉文小说，《金瓶梅》的翻译与传播无疑离不开统治阶级的支持或者默认。

At the same time, the rulers actively wrote and translated Han books. Although objectively absorbing Han culture, the compilation and translation of these books are just like the maintenance of Manchu culture. They are only the strategies and means for Manchu dignitaries to consolidate their reign of power. Once the translation and compilation of books go against the subjective expectations of the rulers or the needs of the country's rule, its censorship and prohibition are inevitable. Conclusion. As the only Chinese novel published in the early Qing Dynasty, except ''The Romance of the Three Kingdoms'', the translation and dissemination of ''The Golden Lotus'' are undoubtedly inseparable from the support or acquiescence of the ruling class.

At the same time, the rulers actively wrote and translated Han books. Although objectively absorbing Han culture, the compilation and translation of these books are just like the maintenance of Manchu culture. They are only the strategies and means for Manchu dignitaries to consolidate their political power. Once the translation and compilation of books go against the subjective expectations of the rulers or the needs of the country's rule, Its review and prohibition are inevitable. Conclusion. As the only Chinese novel published in the early Qing Dynasty except the romance of the Three Kingdoms, the translation and dissemination of JinPingMei is undoubtedly inseparable from the support or acquiescence of the ruling class.--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 04:49, 7 November 2021 (UTC)

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

《金瓶梅》满文译本的印行不仅说明清代禁书政策的失败，而且说明该政策的虚伪。一方面，所谓汉书的禁毁往往只是针对民间，而统治者尤其是国家君主则往往享有豁免。正如其它汉籍汉书的翻译一样，《金瓶梅》的翻译与刊刻不可能游走在国家法律和政府禁令之外。

The printing of the Manchu translation of 《JinPingMei》 not only shows the failure of the book ban policy in the Qing Dynasty, but also shows the hypocrisy of the policy. On the one hand, the so-called prohibition and destruction of the Han Dynasty is often only aimed at the people, while the rulers, especially the national monarchs, often enjoy immunity. Just like the translation of other Chinese books, the translation and publication of 《JinPingMei》 can not go beyond the national laws and government prohibitions.--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 02:00, 7 December 2021 (UTC)

The publication of Manchu translation of ''The Golden Lotus'' indicates not only the failure of the Policy of Banned Books in the Qing Dynasty, but also the hypocrisy of the policy. On the one hand, the ban on Han Books is often only aimed at the people, while the rulers, especially the monarchs of the country, often enjoy immunity. Same as the translation of other Chinese books, the translation and publication of ''The Golden Lotus'' cannot exist outside national laws and government bans.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 08:05, 30 December 2021 (UTC)

20211215 homework

2021-12-30T16:13:46Z

Zhu Suzhen: /* 周小雪 Zhōu Xiǎoxuě 日语语言文学女 202120081559 */

20211229 homework

2021-12-30T16:07:40Z

Zhu Suzhen: /* 周小雪 Zhōu Xiǎoxuě 日语语言文学女 202120081559 */

20211229 homework

2021-12-30T16:05:34Z

Zhu Suzhen: /* 朱素珍 Zhū Sùzhēn 英语语言文学（语言学）女 202120081561 */

20211222 homework

2021-12-30T15:56:37Z

Zhu Suzhen: /* 朱素珍 Zhū Sùzhēn 英语语言文学（语言学）女 202120081561 */

20211124 homework

2021-12-30T15:31:30Z

Zhu Suzhen: /* 朱素珍 Zhū Sùzhēn 英语语言文学（语言学）女 202120081561 */

20211110 homework

2021-12-30T15:23:45Z

Zhu Suzhen: /* 周小雪 Zhōu Xiǎoxuě 日语语言文学女 202120081559 */

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]] [[20211110_homework|for Nov 10 - HLM Chapters 20-21]] etc.

==陈静 Chén Jìng 国别女 202020080595==
按语：拙著《红楼梦全解本》出版后，受到了不少专家与读者的好评，甚为欣慰。但也有读者认为，如果能删掉部分注文，既不影响读者阅读，也可节省书的成本，使更多读者买得起。

Note : After the publication of ''The Dream of Red Mansions(The Anotation Version)'', it was highly appreciated by many experts and readers. However, some readers believe that if some notes can be deleted, it will not affect readers ' reading and save the cost of the publication, so that more readers can afford it.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 10:02, 9 November 2021 (UTC)

Note: after my book the complete interpretation of Drdam Of Red Chamber was published, it was highly praised by many experts and readers. However, some readers believe that if some annotations can be deleted, it will not affect readers' reading, but also save the cost of the book and make it affordable for more readers.
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 11:53, 9 November 2021 (UTC)

==蔡珠凤 Cài Zhūfèng 日语语言文学女 202120081477==
恰好中央编译出版社准备出版四大古典小说套书，为了平衡四部小说的注文，《红楼梦》的注文也嫌太长。因此接受读者的建议，将《红楼梦全解本》的注文删掉了差不多一半，其他一概未动；换言之，此版《红楼梦》校注本，实即《红楼梦全解本》的删节本（仅删注文）。因此《校注前言》仍用《红楼梦全解本》的《校注前言》，不再另写。

It happened that the Central Compilation and Translation Publishing House was preparing to publish four sets of classical novels. In order to balance the annotations of the four novels, the annotations of Dream Of the Red Chamber were too long. Therefore, we accepted the readers' suggestions and deleted almost half of the annotations in the complete interpretation of Dream Of Red Chamber, and the rest remained unchanged; In other words, the revised annotation version of Dream Of Red Chamber is actually an abridged version of the complete interpretation of Dream Of Red Chamber (only the annotation is deleted). Therefore, the preface to proofreading still uses the preface to proofreading of the complete interpretation of Dream Of Red Chamber, and needn’t be written again.
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 06:36, 8 November 2021 (UTC)

It happened that the Central Compilation and Translation Publishing House was preparing to publish four sets of classical novels. In order to balance the annotations of the four novels, the annotations of ''The Dream of the Red Chamber'' were too long. Therefore, we accepted the readers' suggestions and deleted almost half of the annotations in the complete interpretation of ''The Dream of Red Chamber'', and the rest remained unchanged; In other words, the revised annotation version of ''The Dream of Red Chamber'' is actually an abridged version of the complete interpretation of ''The Dream of Red Chamber'' (only the annotation is deleted). Therefore, ''The Preface to Proofreading'' still uses ''The Preface to Proofreading'' of the complete interpretation of ''Dream Of Red Chamber'', and needn’t be written again.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 14:32, 8 November 2021 (UTC)Chen Huini

==陈惠妮 Chén Huìnī 英语语言文学（英美文学）女 202120081479==
《红楼梦》以其包罗万象的内容，博大精深的思想，精湛完美的艺术，丰富生动的语言，尤其是众多栩栩如生的人物形象，不仅在中国小说史上奇峰独秀，而且在世界文学之林独树一帜。它是我国文化遗产中的珍品，值得每一个中国人所珍视。《红楼梦》在其尚未完稿的时候，已经被人竞相传抄，辗转传阅，不胫而走，蜚声神州。

''A Dream of Red Mansions'' is unique not only in the history of Chinese novels, but also in the world literature with its comprehensive contents, extensive and profound thoughts, exquisite and perfect art, rich and vivid language, and especially its numerous vivid characters. It is a treasure of our country's cultural heritage and is worth cherishing by every Chinese. ''A Dream of Red Mansions'' has been copied, circulated and spread like wildfire even when it's unfinished. It is really well-known in China.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 14:23, 8 November 2021 (UTC)Chen Huini

''A Dream of Red Mansions'' is outstanding not only in the history of Chinese novels, but also in the world literature for its comprehensive contents, extensive and profound thoughts, exquisite and perfect art, rich and vivid language, and especially its numerous vivid characters. It is a treasure of our country's cultural heritage and is worth being cherished by every Chinese.Before it is finished， ''A Dream of Red Mansions'' has been copied, circulated and spread like wildfire and it is really well-known in China.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 00:25, 10 November 2021 (UTC)

==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学女 202120081480 ==
不仅“士大夫几乎家有《红楼梦》一书”（清·潘炤《从心录》卷首），而且“家弦户诵，妇孺皆知”（清·缪艮《文章游戏初编》卷六）。上层社会更出现了“开谈不说《红楼梦》，读尽诗书也枉然”（清·得舆《京都竹枝词·时尚门》）的时尚。《红楼梦》的魅力也使其商业价值大增，“好事者每传抄一部，置庙市中，昂其值，得数十金，可谓不胫而走者矣”（清·程伟元《〈红楼梦〉序》）。

''A Dream of Red Mansions'' was so popular that not only scholar officals（people obtain knowledge and wealth in feudal China） read it （the first volum of ''Essay'' by Pan Zhao, Qing），but also families，even women and children ， loved it（the sixth volum of ''Preliminary Article Games'' by Miu Liang, Qing）. Moreover ,there was a climate of ''A Dream of Red Mansions'' that the upper class believed " it is useless to read great books without ''A Dream of Red Mansions''.（''Bamboo Pole Poem in the Capital'' by De Yu, Qing）. The charm of ''A Dream of Red Mansions'' also rose its business value as in record： “Someone who is willing to copy ''A Dream of Red Mansions'' and sell it can raise 10 gold ingots everytime ，and everyone know it.（ the introduction of ''A Dream of Red Mansions'', Qing）.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 09:44, 7 November 2021 (UTC)

Not only did "almost every scholar had a copy of ''A Dream of Red Mansions''" (the first volum of Essay by Pan Zhao, Qing Dynasty), but "Every household recited it, and all women and children knew it" (the sixth volum of ''Preliminary Article Games'' by Miu Liang, Qing Dynasty). In the upper class, the fashion of "If you don't talk about ''A Dream of Red Mansions'', you can read all the poems and books in vain" (''Bamboo Pole Poem in the Capital'' by De Yu, Qing Dynasty) emerged. The charm of A Dream of Red Mansions also made its commercial value increased greatly, "Those who are interested in it can get a lot of money by copying one of the books and selling it in the market. The information spread quickly." (the introduction of ''A Dream of Red Mansions'', Qing Dynasty)--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 07:07, 8 November 2021 (UTC)

==陈心怡 Chén Xīnyí 翻译学女 202120081481==
至高鹗续写后四十回、由程伟元以活字正式出版完整的一百二十回本后，更出现了风行全国的盛况。时至今日，即使读不懂《红楼梦》的人，也都看过《红楼梦》电影或电视剧，对《红楼梦》的故事和人物无不耳熟能详。因此《红楼梦》已经不是普通的小说，而成为全民珍视的国宝了。

After Gao E continued to write the second forty chapters and Cheng Weiyuan officially published the complete one hundred and twenty chapters in movable type, the book became popular nationwide. To this day, even those who do not understand ''A Dream of Red Mansions'' have seen the movie or TV series versions, and are familiar with the story and characters of ''A Dream of Red Mansions''. Therefore, ''A Dream of Red Mansions'' is no longer an ordinary novel, but a national treasure cherished by all.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 06:39, 8 November 2021 (UTC)
After Gao E continued to write the following forty chapters and Cheng Weiyuan officially published the complete one hundred and twenty chapters in movable type, the book became popular nationwide increasingly. To this day, even those who do not understand ''A Dream of Red Mansions'' have already seen the movie or TV series versions, and are familiar with the story and characters of it. Therefore, ''A Dream of Red Mansions'' is no longer an ordinary novel, but a national treasure cherished by all.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 08:37, 10 November 2021 (UTC)

==程杨 Chéng Yáng 英语语言文学（英美文学）女 202120081482==
中国古代的文人墨客、传统学者、官僚士夫，无不鄙薄小说，最多被视为茶余饭后的谈资。唯独对《红楼梦》情有独钟，爱不释手。不仅百读不厌，而且像拜读经书般寻章摘句，眉批夹评，乐此不疲。
The ancient Chinese literats, traditional scholars, bureaucrats, all despised novels, and regarded them as after-dinner talk at most. But they only showed special preference to ''The Dream of Red Mansions'', and fondled admiringly. They not only tired of reading it, but also liked reading the Confucian classics as seeking remarkable passages and culling model sentences, making notes and commentaries, and always enjoying it.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 08:33, 10 November 2021 (UTC)

The ancient Chinese literats, traditional scholars, bureaucrats, all despised novels, and regarded them as after-dinner talks at most. However, they only showed special preference to ''The Dream of Red Mansions'', and fondled admiringly. They not only weren't tired of reading it, but also liked reading the Confucian classics as seeking remarkable passages and culling model sentences, making notes and commentaries, and always enjoying it.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 14:07, 12 November 2021 (UTC)

==丁旋 Dīng Xuán 英语语言文学（英美文学）女 202120081483==
久而久之，居然形成了“红学”。“红学”由起初对《红楼梦》的单纯评点，逐步发展成为对《红楼梦》及其作者的全面考证与研究，最后更成立了红学会，出版研究刊物，势头似乎越来越盛。这不仅是中国小说史上绝无仅有的，也是中国文学史上极其罕见的现象。

As time passes, redology is actually formed. Redology was about pure comments to ''A Dream in Red Mansion'' in the beginning and it gradually developed as the comprehensive textual research and study in ''A Dream in Red Mansion'' and its author. Finally, we even established redologist institution and published research periodicals, the momentum of redology more and more flourishing. This phenomenon is not only unique in the history of Chinese novels, but extremely rare in the history of Chinese literature. --[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 05:29, 9 November 2021 (UTC)

As time passes, redology is unexpectedly formed. Redology came into mere comments to ''A Dream in Red Mansion'' in the beginning and it gradually developed as the comprehensive textual research and study of this work and its author. Finally, redologist institution was established to publish research periodicals with more flourishing tendency than ever. This phenomenon is not only unique in the history of Chinese novels, but extremely rare in the history of Chinese literature.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 11:49, 10 November 2021 (UTC)

==杜莉娜 Dù Lìnà 英语语言文学（语言学）女 202120081484==
遗憾的是，“红学家”们对《红楼梦》的作者及其版本似乎偏爱有加，而对《红楼梦》的思想和艺术价值却缺乏足够的兴趣，因此考证作者和版本的文章和著作连篇累牍，而研究《红楼梦》思想和艺术价值的成果却寥若晨星。我认为这是本末倒置。一个作家的价值不在于其生平如何，而在于其作品的思想和艺术水平的高低；是作品决定作家的价值，而不是作家决定作品的价值。

Unfortunately, redologists ( who are specialists in A Dream of the Red Chamber) seemingly are partial to research on the writer and verison of this book, but are short of interest for it's thought and artistic value. And therefore there are a lot of articles and books about the former while very few about the latter. It seems to me that puts the cart before the horse. What a writer is worth lies in thoughts and artistic level in his/her works but not in his/her life story; and the value of a writer depends on his/her production, not vice versa.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 13:31, 6 November 2021 (UTC)

Unfortunately, redologists ( who are specialists in A Dream of the Red Chamber) seem to prefer to research on the writer and versions of this book, but are short of interest in the thought and artistic value. And therefore there are a lot of articles and books about the former while very few about the latter. It seems to me that puts the cart before the horse. What a writer is worth lies in thoughts and artistic level in his/her works but not in his/her life story; and the value of a writer depends on his/her production, not vice versa.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 14:10, 9 November 2021 (UTC)

==付红岩 Fù Hóngyán 英语语言文学（英美文学）女 202120081485==
读者对于作品的选择与评价，也只着眼于作品本身，而非作家本人。一部伟大的作品，即使作者佚名，也不影响其伟大，照样受到读者的追捧；相反，如果一个伟大作家偶然写了一部低劣的作品，读者也决不买账。因此“红学”的研究重点应该是《红楼梦》本身，而不是《红楼梦》作者。

Readers' choice and evaluation towards works is based on the works themselves, rather than the writers. As anonymous is the writer, the valued of a great work is definitely unlikely to be underestimated, which is still welcomed by the public. Likewise, readers cannot be attracted by the inferior work written by a great writer. Therefore, redology is supposed to focus on the context, instead of the writer Cao Xueqin--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 14:01, 9 November 2021 (UTC)

Readers' choice and evaluation towards works is based on the works themselves, rather than the writers. As anonymous is the writer, the values of a great work are definitely unlikely to be underestimated, which is still popular with the public. Likewise, readers cannot be attracted by a low-quality work even written by a great writer occasionally. Therefore, redology is supposed to focus on the context, instead of the writer Cao Xueqin.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 09:02, 10 November 2021 (UTC)

==付诗雨 Fù Shīyǔ 日语语言文学女 202120081486==
当然也应该了解作者，但目的只是为了有助于深入了解《红楼梦》，仅此而已。我认为要想深入研究《红楼梦》，首先必须完全读懂《红楼梦》。如果对《红楼梦》的文本只是一知半解，那么所谓研究，势必如医生不明病人的病情而乱开药方，不仅治不好病，倒可能致人于死命。

Certainly, we should also know the author, but the purpose is nothing more than to help us understand ''A Dream of Red Chamber'' in depth. I think that in order to make a further research on ''A Dream of the Red Chamber'', we must first have a thorough understanding of it. If we have only a sketchy knowledge of the text of ''A Dream of Red Chamber'', then the so-called research would definitely be like the prescriptions prescribed indiscriminately without knowing the patient's condition. Not only can it not cure the disease, but it may lead to death.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 13:53, 6 November 2021 (UTC)

Certainly, we should also know about the author, but only with the purpose of deepening our understanding of the work. I think that further researches on ''A Dream of Red Mansions'' necessitate a thorough understanding of it. If we have only a sketchy knowledge of the text of ''A Dream of Red Mansions'', then the so-called research would definitely be like the prescriptions written indiscriminately by a doctor unaware of the patient's condition. Not only can it not cure the disease, but it may lead to death. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 03:04, 7 November 2021 (UTC)

==高蜜 Gāo Mì 翻译学女 202120081487==
《红楼梦》研究中的许多无谓争论，正是研究者没有读懂《红楼梦》或对《红楼梦》文本的不同理解所致。因此对《红楼梦》文本的注释，显然是《红楼梦》研究的基础工作。其次，当今的读者和观众虽然热衷于《红楼梦》，但真正能够全面深入理解《红楼梦》的人恐怕并不很多。

A great many arguments regarding the study of ''A Dream of Red Mansions'', caused either by an incomplete understanding or different understandings of the text, are pointless. Therefore, it's apparent that annotating ''A Dream of Red Mansions'' is a foundation work for its further study. Besides, though today's readers and audience are crazy about the book, I'm afraid that not many of them get to know it thoroughly. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 03:09, 7 November 2021 (UTC)

Many unnecessary arguments in the study of ''A Dream of Red Mansions'' are caused by the researchers' failure to understand ''A dream of Red Mansions'' or their different understandings of the text.Therefore, it's apparent that annotating ''A Dream of Red Mansions'' is a foundation work for its further study. Besides, though today's readers and audience are crazy about the book, I'm afraid that not many of them get to know it thoroughly.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 11:14, 13 November 2021 (UTC)

==宫博雅 Gōng Bóyǎ 俄语语言文学女 202120081488==
这是因为，《红楼梦》不是普通的白话小说，不是简单地为读者讲故事，不是为读者提供茶馀饭后的谈资，更不是为了赚稿费餬口（那时根本不存在稿费制度）。它不仅是一部反映封建社会的“百科全书”，而且作者还对人类共同关心的一些问题，如人生的目的、人性的善恶、爱情的真谛、宗教的精义等进行了探索。作品涉及的内容几乎无所不包，从至高无上的皇帝，到“芥豆之微”的细民，从国家的政治、军事、经济到百姓的日常生活，举凡天文、地理、动物、植物、建筑、服饰、医卜星相、琴棋书画等等，无不尽收笔底。

This is because ''A Dream of Red Mansions'' is not an ordinary vernacular novel. It is not simply a story for readers to read, not a topic for after-dinner conversation, or a way to earn a living (there was no contribution fee system at that time). It is not only an "encyclopedia" reflecting the feudal society, but also explores some common issues of human concern, such as the purpose of life, the good and evil of human nature, the true meaning of love, the essence of religion and so on. The works cover almost everything, from the supreme emperor to the ordinary people, from national politics, military affairs, economy to the daily life of the people, including astronomy, geography, animals, plants, architecture, clothing, medicine, astrology and practise divination, poetry and painting and so on, they're all in the book.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 13:47, 6 November 2021 (UTC)

It is because ''Dream of the Red Chamber'' is neither an ordinary novel in vernacular Chinese, nor a simple narrative or gossip for readers. The author wrote it not for remuneration for the system of remuneration for writters did not exist at that time. It is not only an "encyclopedia" reflecting the feudal society, but also an exploration of some issues of common concern to mankind, such as the purpose of life, the good and evil of human nature, the true meaning of love, and the essence of religion. It covers almost everything, from the supreme emperor to the plebeian as tiny as reed, and from the politics, military and economy of the country to the daily life of the people. It includes astronomy, geography, animals, plants, architecture, costumes, medicine, astrology, zither, chess, calligraphy and painting, and so on. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 11:48, 10 November 2021 (UTC)

==何芩 Hé Qín 翻译学女 202120081489==
作者还调动了自己的全部才能和知识，汲取了前人的成果，撰写并引用了大量诗、词、曲、赋、歌、诔、谜语、酒令等，作为描写人物、叙述故事、揭示主题的艺术手段，从而成为作品的重要组成部分。这其中蕴藏着许多成语、典故和各种知识，现在的一般读者是很难读懂的。此外，由于曹雪芹以其家事为《红楼梦》的蓝本，且暴露了不少家丑，如秦可卿的淫荡乱伦等，因而大量采用了《春秋》笔法，即作者所谓将“真事隐去”，以“假语村言”的曲折方式进行暗示或隐寓，致使《红楼梦》扑朔迷离，迷雾重重。

The author also mobilized all his talents and knowledge and drew on the achievements of his predecessors, writing and quoting a large number of poems, lyrics, songs, eulogies, riddles and wine wager as artistic methods to describe characters, narrate stories and reveal themes, thus becoming an important part of the work. This contains many idioms, allusions and various kinds of knowledge that are difficult for the average readers to comprehend nowadays. In addition, Cao Xueqin used his family affairs as the blueprint for Dream of the Red Chamber and exposed many family scandals, such as Frivolity Grain's lewdness and incest. Cao, thus, adopted much of a writing style of ''Spring and Autumn Annals'', that is, the author's so-called "real things concealed", in the twisted way of "false words and village gossips", which has led to the ''Dream of the Red Chamber'' being puzzling and foggy.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 12:28, 10 November 2021 (UTC)

The author also mobilized all his talents and knowledge and took results from his predecessors, writing and quoting a large number of poems, lyrics, songs, eulogies, riddles and wine wager as artistic methods to describe characters, narrate stories and reveal themes, thus becoming an important part of the work. The novel contains many idioms, allusions and various kinds of knowledge that are difficult for the average readers to comprehend nowadays. In addition, Cao Xueqin used his family affairs as the blueprint for ''A Dream in Red Mansions'' and exposed many family scandals, such as Qin Keqing's lewdness and incest. Cao, thus, frequently adopted a writing style of Spring and Autumn Annals, that is, the author's so-called "real things concealed", using the twisted way of "false words and village gossips" to hint and make it metaphorical which has led to ''A Dream in Red Mansions'' being puzzling and foggy.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 08:35, 14 November 2021 (UTC)

==胡舒情 Hú Shūqíng 英语语言文学（语言学）女 202120081490==
因此帮助广大读者读懂《红楼梦》，也是《红楼梦》研究者义不容辞的责任。而要使读者读懂《红楼梦》，只作简单的文字注释不解决问题，必须加以详细注释，将隐藏于《红楼梦》字里行间的寓意一一揭示出来，才能完全展示《红楼梦》的本来面貌。我从学生时代起就期待这种《红楼梦》的详注本出现，一直等了半个世纪，可惜望眼欲穿而不见踪影。

Therefore, it is incumbent on researchers of ''A Dream in Red Mansions'' to help numerous readers understand the novel. For this, problem can’t be solved simply by text annotations. What should do is to add detailed explanatory notes to discover the meanings implied in characters, which can fully show the way the book originally is. I have expected the appearance of this version with detailed annotations since I was a student. I’ve waited for half a century, but it never comes out.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 02:46, 12 November 2021 (UTC)

Therefore, it is our researchers' duty to heip numerous readers understand A Dream in Red Mansions. To do that, simple text annotations are not enough. And detailed explanatory notes are needed to discover its implied meanings, which can fully show its characteristics. Waiting for half century, I have expected the apppearance of this version with detailed annotations since I was a student.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 01:49, 15 November 2021 (UTC)

==黄锦云 Huáng Jǐnyún 英语语言文学（语言学）女 202120081491==
很显然，“红学家”的队伍虽然不断壮大，看来他们对这种注释工作似乎不屑一顾。于是我这个“红学”的门外汉便斗胆一试，结果试出了这个《红楼梦》校注本。我这是“人弃我取”，希望不至于冒犯任何人。

Obviously, the amount of redologists who are sepcalists in A Dream of Red Mansion was increasing. They seemed to pay no attention to annotate that book, but I, as a layman, took a chance and tried to make the annotation of A Dream of Red Mansion. I thought it was an attitude of doing the things others gave up, which would not offend anyone.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 13:52, 7 November 2021 (UTC)

Obviously, the amount of redologists sepcalizing in A Dream of Red Mansion was increasing. They seemed to pay little attention to annotate that book, but I, as a layman, took a chance and tried to make the annotation of A Dream of Red Mansion. I thought it was an attitude of doing things others gave up, which I hope would not offend anyone.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:20, 7 November 2021 (UTC)

==黄逸妍 Huáng Yìyán 外国语言学及应用语言学女 202120081492==
如果能成为“引玉”之“砖”，即使要做“众矢之的”，招来“万箭攒射”，我也决不后悔，因为这也算是我对《红楼梦》读者的小小奉献了。下面仅就与校注工作有关的几个具体问题略作说明。

一、作者问题

If I can serve as a modest spur to induce someone to come forward with his valuable contributions, I will never regret even if I could be the target of public criticism. It is because that the annotation work is also my dedication to the readers of A Dream of Red Mansions. And I will explain a little about the specific questions in proofreading below. 1. The Question of Author--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 12:40, 7 November 2021 (UTC)

If I can become a "brick" for "inviting jade", even if I want to be "a target of all targets" and attract "a thousand arrows", I will never regret it, because this is also a small dedication to the readers of "A Dream of Red Mansions". The following is only a brief description of a few specific issues related to the proofreading work.
1. Author's question--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 11:06, 17 November 2021 (UTC)

==曾俊霖 Zēng Jùnlín 国别男 202120081478==
中国文学史中有两个突出现象：一是在封建时代得意并著名的文人不写小说；二是小说作品多不署名或只署化名。这完全是由封建统治者造成的。封建统治者的文学观是纯粹的政治功利主义，即所谓“文以载道”。

There are two outstanding phenomena in the history of Chinese literature: one is that famous and proud literati in the feudal era do not write novels; the other is that many novels do not sign or only sign pseudonyms. This is entirely caused by the feudal ruler. The feudal ruler’s literary view is pure political utilitarianism, that is, the so-called "writing is used to carry Tao".--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 11:03, 17 November 2021 (UTC)

There are two prominent phenomena in the history of Chinese Literature: first, the proud and famous literati in the feudal era did not write novels; Second, most novels are not signed or only signed by pseudonyms. This was entirely caused by the feudal rulers. The literary view of feudal rulers was pure political utilitarianism, that is, the so-called "literature carries Tao".--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 12:42, 22 November 2021 (UTC)

==黄柱梁 Huáng Zhùliáng 国别男 202120081493==
他们认为小说不仅不能“载道”，而且往往“诲淫诲盗”，对封建统治构成威胁。因此不仅将小说排斥在正统文学之外，甚至常常以“禁毁”的方式加以扫荡。在文网森严及小说地位低贱的环境下，多数文人自然不敢或不屑从事小说的创作；而那些痴迷小说的作者也就不敢或不愿在小说作品上亮出自己的真名实姓。They faithfully believe that novels not only can not "educate citizens of Qing Dynasty", but also often be blessed with "obscenity and theft", which poses a threat to feudal rule.Therefore, novels are not only excluded from orthodox literature, but also often cleaned up in the way of "prohibition and destruction". In the social background of highly strict policy of Literary Network and low status of novels, most scholars naturally dare not or disdain to engage in novel creation; Those who are obsessed with novels are afraid or unwilling to show their real names in their novels.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 02:46, 10 November 2021 (UTC)Huang Zhuliang

They believed that novels not only can not "educate citizens of Qing Dynasty", but also often be blessed with "obscenity and theft", which poses a threat to feudal rule.Therefore, novels are not only excluded from orthodox literature, but also often cleaned up in the way of "prohibition and destruction". In the social background of highly strict policy of Literary Network and of low status of novels, most scholars naturally dare not or disdain to engage in novel creation; Those who are obsessed with novels are afraid or unwilling to sign their real names in their novels.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 13:18, 11 November 2021 (UTC)

==金晓童 Jīn Xiǎotóng 202120081494==
因此研究中国古代小说多了一项工作，即不得不对小说作者加以考证。《红楼梦》也不例外，它的作者连化名都未署一个。“红学家”们为了考证它的作者，不知耗费了多少精力和时间，然而由于史料不足，至今仍然众说纷纭,难以形成共识。

Therefore, there is one more task to study ancient Chinese novels, that is, we have to do textual research on the authors of the novels. ''A Dream of Red Mansions'' is no exception. Its author does not even have a pseudonym. In order to do textual research on its author, the "redologists" spent a lot of energy and time. However, due to the lack of historical data, opinions are still varied and it is difficult to reach a consensus.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 01:57, 6 November 2021 (UTC)
Therefore, there is one more task to study ancient Chinese novels, that is, we have to do textual research on the authors of the novels. ''A Dream of Red Mansions'' is no exception, whose author does not even have a pseudonym. In order to do textual research on its author, the "redologists" spent a lot of energy and time. However, due to the lack of historical data, opinions are still varied and it is difficult to reach a consensus.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 06:39, 15 November 2021 (UTC)

==邝艳丽 Kuàng Yànl 英语语言文学（语言学）女 202120081495==
据我个人所知，至少就有七种说法：其一为“曹作高续”说。即认为曹雪芹写到八十回而去世，并可能留下了后四十回的某些提纲以及部分书稿；高鹗根据曹雪芹的这些提纲、书稿以及前八十回中的许多暗示，还可能参考了其他人的续作，完成了后四十回的创作，并对前八十回加以修订，从而使《红楼梦》成为完璧。
As far as I am concerned, there are at least seven sayings: one of which is that ''Dream of Red Mansions'' was written by Cao Xueqin and then finished by Gao. The saying means that Cao passed away and left some outline and manuscripts of the latter fourth chapters when the former eighty chapters was finished. Then, Gao finished the latter forty chapters and reviewed the former eighty chapters, according to some outlines, manuscripts and clues made by Cao, referring to other sequels. Finally, ''Dream of Red Mansion'' was finished. --[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 06:27, 15 November 2021 (UTC)

As far as I am concerned, there are at least seven sayings: one of which is that ''Dream of Red Mansions'' was written by Cao Xueqin and then finished by Gao. The saying means that Cao had passed away and left some outline and manuscripts of the latter fourth chapters while the former eighty chapters was finished. Then, Gao finished the latter forty chapters and reviewed the former eighty chapters, according to some outlines, manuscripts and clues made by Cao, referring to other sequels. Finally, ''Dream of Red Mansion'' was finished.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 13:04, 15 November 2021 (UTC)

==李爱璇 Lǐ Àixuán 英语语言文学（语言学）女 202120081496==
其二为“曹作程续高订”说。即认为前八十回的作者是曹雪芹，后四十回的作者是程伟元，高鹗只是参加了全书的修订工作。其三为“曹作高续程订”说。即认为前八十回的作者是曹雪芹，后四十回的作者是高鹗，程伟元则对曹雪芹的前八十回加以修订。

The second is the theory of "Cao came to write, Cheng continued to write, Gao to revise". That is, the author of the first 80 chapters is Cao Xueqin, the author of the last 40 chapters is Cheng Weiyuan, and Gao E only participated in the revision of the whole book. The third is the theory of "Cao came to write, Gao continued to write, Cheng to revise". That is, the author of the first 80 chapters is Cao Xueqin, the author of the last 40 chapters is Gao E, and Cheng Weiyuan revised Cao Xueqin's first 80 chapters.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 12:47, 6 November 2021 (UTC)

The second statement said that "Started by Cao, completed by Chen, and revised by Gao". That’s to say, the first 80 chapters were written by Cao Xueqin, the last 40 chapters were written by Cheng Weiyuan, and Gao E only revised the whole book. The third statement said that "Started by Cao, completed by Gao, and revised by Chen". That’s to say, the first 80 chapters were written by Cao Xueqin, the last 40 chapters were written by Gao E, and Cheng Weiyaun made revisions to the first 80 chapters of Cao Xueqin.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 11:56, 10 November 2021 (UTC)

==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学）女 202120081497==
其四为“曹作某续高订”说。即认为在程伟元和高鹗之前，已有人为曹雪芹的未完稿续写完全，程伟元将搜集到的抄本交由高鹗修订，然后刊行。其五为“曹作程高修订”说。

The fourth statement said that “Started by Cao, completed by someone, and revised by Gao”. That's to say, before Cheng Weiyuan and Gao E, there was someone who completed Cao Xueqin's unfinished writing. Then, Cheng Weiyuan collected this hand-copied version and provided it for Gao E to revise, and afterwards ''Dream of the Red Chamber'' was published . The fifth statement said that “Started by Cao, and revised by both Cheng and Gao ”.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 08:08, 10 November 2021 (UTC)

The fourth statement said that "This masterpiece is started by Cao, completed by someone, and revised by Gao". That's to say, before Cheng Weiyuan and Gao E, there was someone who completed Cao Xueqin's unfinished work. Then, Cheng Weiyuan collected these hand-copied drafts and offered them to Gao E to revise, and afterwards ''Dream of the Red Chamber'' was published. The fifth statement noted that "It was started by Cao, and revised by both Cheng and Gao".--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:52, 14 November 2021 (UTC)

==李姗 Lǐ Shān 英语语言文学（英美文学）女 202120081498==
即认为曹雪芹已经完成了《红楼梦》全书，只是未遑修饰而去世，后由程伟元和高鹗共同修订并刊行。其六为“叔作侄订”说。即认为《红楼梦》的原作者是曹雪芹的叔父曹頫，也就是给《红楼梦》加批的“脂砚斋”；曹雪芹只是对它“披阅十载，增删五次”。

It was commonly believed that Cao Xueqin had finished the draft of ''A Dream in Red Mansions'', while as a result of his death it was not polished by himself, but co-revised and published by Cheng Weiyuan an Gao 'E later on. Sixly, rumar had it that this classic was the common product of the uncle and the nephew. That was to say, the original author of that masterpiece was Cao Fu, Cao Xueqin's uncle, who was at the same time the very one that added notes in that masterpiece, and Cao Xueqin just played the role of repeatedly revising it.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:55, 14 November 2021 (UTC)

It was commonly believed that Cao Xueqin had finished the draft of ''A Dream in Red Mansions''. As a result of his death it was not published by himself. However, co-revised and published by Cheng Weiyuan an Gao 'E later on. Rumar had it that this classic was the common product of the uncle and the nephew. Which shows, the original author of that masterpiece was Cao Fu, Cao Xueqin's uncle, who was at the same time the only one who added notes in that masterpiece, and Cao Xueqin just repeatedly revised it.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:35, 6 November 2021 (UTC)
--[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 22:31, 8 November 2021 (UTC)

It was commonly believed that Cao Xueqin had finished the draft of ''A Dream in Red Mansions'', but died before he could polish it. As a result, the draft was co-revised and published by Cheng Weiyuan an Gao 'E later on. The sixth opinion is that this classic is the common product of the uncle and the nephew. That's to say, the original author of that masterpiece was Cao Fu, Cao Xueqin's uncle, who was at the same time the very one that added notes in that masterpiece, and Cao Xueqin just played the role of repeatedly revising it.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 15:35, 14 November 2021 (UTC)

==李双 Lǐ Shuāng 翻译学女 202120081499==
其七为“某作曹订”说。即认为《红楼梦》的原作者是个与曹家毫不相干的无名氏，曹雪芹只是个修订者。“红学家”对《红楼梦》作者的意见分歧，使出版者无所适从，因而造成了新版《红楼梦》署名的混乱：或只署曹雪芹，或并署曹雪芹、高鹗，或干脆不署名。

The seventh opinion is that “a certain author, Cao revised”. That is to say, the original author of ''A Dream in Red Mansions'' is an anonymous person who has no relation with Cao’s family, and Cao Xueqin is only the reviser. The different opinions among the “redologists” about the author of ''A Dream of Red Mansions'' caused the publishers not to know what to do. The new versions are therefore in confusion: some signed Cao Xueqin alone, some signed Cao Xueqin and Gao E together, and some signed nothing at all.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 09:40, 10 November 2021 (UTC)

The seventh opinion is that “a certain author, Cao revised”. That is to say, the original author of ''The Dream of the Red Chamber'' was an anonymous person who had no relation with the Cao’s, and Cao Xueqin was only a reviser. The different opinions among the “redologists” about the author of ''The Dream of the Red Chamber'' caused the publishers not to know what to do. The new versions are therefore in confusion: some signed Cao Xueqin alone, some signed Cao Xueqin and Gao E together, and some signed nothing at all. --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 11:33, 10 November 2021 (UTC)

==李文璇 Lǐ Wénxuán 英语语言文学（英美文学）女 202120081500==
由于我对这个问题缺乏专门研究，只能在以上七种说法中加以选择。我认为这七种说法都有一定的根据，均非空穴来风。但相比之下，第一种说法的证据更为充分，也得到了学界的普遍认可，因此仍将曹雪芹和高鹗作为《红楼梦》的共同作者。

Because of a lack of specialized research to this question, I had to select from the seven statements above. I thought that the seven statements were of certain basis. However, with comparison, the evidence of first statement was more sufficient, and was largely approved by the academic circles. So, Cao Xueqin Autor and Gao E were still regarded as the co-author of ''the Dream of the Red Chamber''. --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 01:47, 6 November 2021 (UTC)
Being lacking in specialized research to this question, I had to select from the above seven versions . I thought that they were of certain basis. However, with comparison, the first statement was more credible, and was largely approved by the academic circles. So, Cao Xueqin and Gao E were still regarded as the co-author of ''the Dream of the Red Chamber''.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 06:57, 10 November 2021 (UTC)

==李雯 Lǐ Wén 英语语言文学（英美文学）女 202120081501==
至于这种说法的具体根据，以及两作者的生平，已见于不少专文，这里不再赘述。

二、版本问题

由于《红楼梦》创作过程和流传过程的特殊性，造成了《红楼梦》版本的复杂性。
We will not describe more about the specific reason of this opinion and lives of the two authors because a lot of scholars have discussed it.
二、Version problem
The unique process of creating and circulating A Dream in Red Mansions leads to such complicated versions of it.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 06:52, 10 November 2021 (UTC)

As well as the life of the two authors, has been seen in a number of articles, here will not be repeated.
Second, the version of the problem because of the "Dream of Red Mansions" creative process and the special nature of the process of circulation, resulting in the "Dream of Red Mansions" version of the complexity.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 04:36, 24 November 2021 (UTC)

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

而《红楼梦》版本的复杂性，又迫使我们不得不有所选择。《红楼梦》的创作和流传过程可以分为四个阶段：其一是曹雪芹的创作阶段。虽然曹雪芹自称“披阅十载，增删五次”，其实由于他溘然而逝，只留下了一部《红楼梦》的未完稿和未定稿。

The complexity of the version of a Dream of Red Mansions forces us to make choices. The creation and spread of a Dream of Red Mansions can be divided into four stages: one is Cao Xueqin Autor's creation stage. Although Cao Xueqin Autor, claimed that "reading for ten years, adding and deleting five times", in fact, because of his death, leaving only a dream of red Mansions unfinished and unfinished.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 08:59, 9 November 2021 (UTC)
--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 13:16, 29 December 2021 (UTC)
The complexity of the version of a ''dream of Red Mansions'' forces us to choose. The creation and spread of the ''dream of Red Mansions'' can be divided into four stages: one is the creation stage of Cao Xueqin Autor. Although Cao Xueqin Autor claimed to "read for ten years, add and delete five times", in fact, due to his death, only one unfinished and undecided version of a dream of Red Mansions was left.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 14:16, 9 November 2021 (UTC)

==李怡 Lǐ Yí 法语语言文学女 202120081504==
他只完成了八十回，约相当于全书的三分之二。他不仅未对这八十回的书稿进行修订润色，而且还有不少待补的缺文。以“红学家”认为最好的版本“庚辰本”为例：第十七、十八两回合用一套回目，第十九回没有回目；第二十二回写荣国府作灯谜游戏，“此回未成而芹逝矣”(脂砚斋批语)，以至不仅缺了主要人物贾宝玉、林黛玉和史湘云的灯谜，而且本回还有不少其他缺文；如此等等。
He completed only eighty times, about two-thirds of the book. Not only did he leave the eighty drafts unrevised, but there was still much to be done. To the researcher of a dream of Red Mansions that the best version of the "gengchen Ben" as an example: the 17th, 18th round with a set of return, the 19th back no return; The twenty-second time to write rongguo Mansion for lantern riddle game, the chapter is unfinished but Cao Xueqin is dead (the ink stone lent comments), so that not only the lack of lantern riddles of the main characters Precious Jade Merchant , Mascara Jade Forest and Fragrant-cloud History, and this time there are many other lack of text; And so on.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 05:26, 7 November 2021 (UTC)

He completed only eighty chapters, about two-thirds of the whole book. Not only did he leave the eighty drafts unrevised and unpolished, but there was still much missing pages to be filled. Take the “Gengchen Version” as an example, which was considered the best version by Redology scholars, the 17th, 18th chapters kept the same content and the 19th had no content; The chapter 22, which was about Rongguo Mansion' lantern riddle game, was unfinished before Cao Xueqin passed away. (comments from the Ink Stone Lent), so that there was not only a lack of lantern riddles of the main characters Precious Jade Merchant, Mascara Jade Forest and Fragrant-cloud History, but also many other contents, and so on.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 06:53, 7 November 2021 (UTC)

==刘沛婷 Liú Pèitíng 英语语言文学（英美文学）女 202120081505==
其二是曹雪芹《红楼梦》八十回本的传抄阶段，其间大约近三十年。由于抄书速度很慢，《红楼梦》的篇幅又很长，要想在短时间内抄完一部，需集多人之手。故多为达官显宦之家雇佣抄手，集体完成。

The second lay in the transmission and copying stage of 80 chapters of Cao Xueqin's ''A Dream of Red Mansions'', which lasted about 30 years. Due to the slow speed of copying and the long length of the novel, it required cooperation in order to scribe it done in a short time. Therefore it was the noble officials anddignitaries who often hired scribes to do the task together.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 06:39, 7 November 2021 (UTC)

The second stage is the transmission and copying of 80 chapters of ''A Dream of Red Mansions'' written by Cao Xueqin, which lasted about 30 years. Due to the slow speed of copying and the long length of the novel, it required cooperation in order to finish it in a short time. Therefore it was the noble officials and dignitaries who often hired scribes to do the task together.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 05:33, 10 November 2021 (UTC)

==刘胜楠 Liú Shèngnán 翻译学女 202120081506==
又因它是一部未完稿和未定稿，抄手便自觉或不自觉地加以增删修改；而抄手大多水平不高，且良莠不齐，鲁鱼亥豕，在所难免。从而导致大量异文乃至讹误的产生。其三是高鹗和程伟元续写后四十回并对全书进行修订和刊行的阶段。

And because it was an unfinished and undecided manuscript, the scribes consciously or unconsciously added, deleted and modified it. Most scribes lacked skills and the level of copying varied in quality. Accordingly, it was inevitable that clerical errors occurred, which led to a large number of variant versions of the book and even misinterpretations in the text. The third was the stage when Gao E and Cheng Weiyuan wrote a continuation of 40 chapters for ''A Dream in Red Mansions'', revised and published the whole book.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 13:29, 6 November 2021 (UTC)

And because it was an unfinished and undecided manuscript, the copywriters consciously or unconsciously added, deleted or modified it; Because most copywriters lacked skills and their level of copying varied in quality.so it was inevitable that led to a large number of different texts and even errors in the text. The third was the stage when E Gao and Weiyuan Cheng continued to write the last 40 chapters of ''A Dream in Red Mansions'',revised and published the whole book. --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 03:47, 7 November 2021 (UTC)Liu Wei

==刘薇 Liú Wēi 国别女 202120081507==
其间又可分为四段：首先由程伟元对各种《红楼梦》抄本加以搜集(其中可能包括无名氏续写的书稿)；其次由高鹗续写后四十回，并对前八十回进行大量修订(程伟元也可能参与了修订工作)；又次由程伟元于乾隆五十六年（公元1791年）用活字排印出版一百二十回本，后来被胡适先生命名为“程甲本”；次年由高鹗和程伟元对“程甲本”加以修订再版，后来又被胡适先生命名为“程乙本”。据说还有“程丙本”，如今已经不知下落，据个别看过的人说，较之“程乙本”改动甚少，因而可以置之不论。

It can be divided into four periods: firstly,Weiyuan Cheng collected various transcripts of ''A Dream of Red Mansions ''(including the manuscripts of a sequel written by anonymous authors); Secondly,E Gao continued to write the last 40 chapters and made a lot of revisions to the first 80 chapters (Weiyuan Cheng may also had participated in the revision work); thirdly, another 120 copies were printed and published by Weiyuan Cheng in movable type in the 56th year of the Emperor of Qianlong (AD 1791), which was later named "Cheng Jia Edition" by Mr.Shi Hu;Lastly, in the following year, E Gao and Weiyuan Cheng revised and republished the "Cheng Jia Edition", which was later named "Cheng Yi Ben" by Mr.Shi Hu. It is said that there is also "Cheng bing Edition", which is unknown now. According to someone who have seen it, there are few changes compared with "Cheng Yi Edition", so it can be set aside. --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 03:22, 7 November 2021 (UTC)Liu Wei

It can be divided into four stages: in the first stage, Cheng Weiyuan collected all kinds of transcripts of ''A Dream of Red Mansions'' (including the manuscripts of a sequel written by unknown authors); Secondly, Gao E continued the last 40 chapters and made a lot of revisions to the first 80 ones (Cheng Weiyuan may also had participated in the revision work); thirdly, another 120 copies were printed and published by Cheng Weiyuan in movable type in the 56th year under the reign of the emperor Qianlong (AD 1791), which were later named "Cheng Jia (the first) Editions" by Hu Shi; Lastly, in the following year, Gao E and Cheng Weiyuan revised and republished the "Cheng Jia Edition", which was later named "Cheng Yi (the second) Edition" by Hu Shi. It is said that there was also "Cheng Bing (the third) Edition", which now has no whereabouts. According to someone who had once read it, compared with "Cheng Yi Edition", there were so few changes that it could be set aside.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 15:11, 8 November 2021 (UTC)

==刘晓 Liú Xiǎo 英语语言文学（英美文学）女 202120081508==
其四是《红楼梦》刊本的流传阶段。此段从程伟元的活字本问世开始，直到现在。在刊本出现后，虽然由于某些人的爱好或习惯，仍有抄本流传，但已是强弩之末，不成气候，而刊本的流传却如燎原之势，席卷全国。

The fourth period is the circulation of the printed versions of ''a Dream of Red Mansions''. This stage has been going on since Cheng Weiyuan's movable printed editions were published. After these versions appeared, though transcripts were still spreading due to some people's hobbies or habits, it was like a spent arrow and no longer had great influence, while the printed versions spread and swept like fire through the country.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 14:22, 6 November 2021 (UTC)

The fourth period is the circulation of the printed versions of ''a Dream of Red Mansions''. This stage start from cheng Weiyuan's movable type book came out and until now. After the publication appeared, although due to some people's hobbies or habits, it was like a spent arrow and no longer had great influence, while the printed versions spread and swept like fire through the country.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:00, 8 November 2021 (UTC)

==刘越 Liú Yuè 亚非语言文学女 202120081509==
《红楼梦》如此特殊的创作和流传过程，导致了《红楼梦》的“三多”现象：版本多，异文多，讹误多。幸运的是，近几十年来，这些版本不仅不断被发现，而且陆续被影印出版，从而使我们得以大饱眼福。仅就我个人视野所及，即有十二种版本，而且五花八门：或名《石头记》(5种)，或名《红楼梦》(7种)；或为抄本(10种)，或为刊本(2种)；或为八十回系统(8种，其中6种为残本)，或为一百二十回系统(4种)。

The special creation and dissemination process of A Dream of Red Mansions leads to the phenomenon of "three many" : many versions, many different texts and many errors. Fortunately, in recent decades, these editions have not only been discovered, but photocopied and published, so that we can feast our eyes on them. As far as I can see, there are twelve versions, and they are diverse，named as "The Story of the Stone" (five versions) or "A Dream of Red Mansions" (seven versions). Some are codex (10 kinds) and some are periodical (2 kinds); Some are 80 chapter system (8 types, 6 of which are incomplete) and some are 120 chapter system (4 types).--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 06:53, 8 November 2021 (UTC)

The special creation and dissemination process of ''A Dream of Red Mansions'' led to a phenomenon called "three many": many editions, many variants and many errors. Fortunately, in recent decades, these editions have not only been discovered, but successively photocopied and published, which greatly regale us. As far as I know, there are twelve editions in great diversity. Some are titled ''The Story of the Stone'' (five editions), or ''A Dream of Red Mansions'' (seven editions); some are hand-copied (10 editions), while some printed (8 including 6 incomplete editions); some are composed of 80 chapters, while some others 120 chapters.--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 13:17, 13 November 2021 (UTC)

==刘运心 Liú Yùnxīn 英语语言文学（英美文学）女 202120081510==
《红楼梦》的众多版本，对于研究者是极有价值的，它们可以帮助研究者分析《红楼梦》的创作过程和流传过程，并进行比较研究。但对于普通读者来说，如此眼花缭乱的版本，犹如坠入五里雾中，使他们无从选择。因此《红楼梦》的研究者有义务为他们提供一个最好的版本。

The various versions of ''Dream of the Red Chamber'' have enormous value to researchers. They can be helpful to researchers in analyzing the processes of creation and dissemination, and facilitating comparative studies. However, for common readers, such a dazzling array of versions might leave them with a foggy head and unable to decide. Therefore, researchers are obliged to offer the best version. --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 06:09, 10 November 2021 (UTC)
The various versions of ''Dream of the Red Chamber'' are valuable to researchers, which can helpful to them in analyzing the processes of creation and dissemination of the book, as well as working on comparative studies. However, it would be confusing and indeterminable for the general readers when facing with such a dazzling array of versions. It’ s therefore incumbent upon researchers to offer the best version.
--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 14:32, 14 November 2021 (UTC)

==罗安怡 Luó Ānyí 英语语言文学（英美文学）女 202120081511==
况且为了很好地保存这笔珍贵的文化遗产，也必须确立一种《红楼梦》的最好版本。那么哪一种版本是《红楼梦》的最好版本呢？答案就是“程乙本”。鉴于至今仍有“红学家”对高鹗续写的《红楼梦》后四十回既持否定态度，又在出版《红楼梦》时不得不用它与曹雪芹的前八十回相配为完整的一百二十回本，我在这里必须首先对高续后四十回的价值略作说明。

Moreover, in order to preserve this precious cultural heritage, it is also necessary to establish the best version of ''Dream of the Red Chamber''. So which is the best version? The answer is "Cheng Yi Ben". Since, when publishing ''Dream of the Red Chamber'', there are still "Redologists" who have a negative attitude towards Gao E 's subsequent writing of the later forty chapters of ''Dream of the Red Chamber'', and who had to use Gao‘ s creation in conjunction with Cao Xueqin's first eighty chapters as the complete one—hundred and twenty chapters, I must first give a brief explanation of the value of Gao's continuation of the later forty chapters.--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 07:18, 8 November 2021 (UTC)

Moreover，it is also necessary to establish the best version of ''Dream of the Red Chamber'' to preserve this precious cultural heritage.So which one is the best version of it？The answer is "Cheng Yi Ben".Since there is still opposition against the forty chapters wrote by Gao E，the “master of the Dream of the Red Chamber，while it is a must to combine them and the eighty chapters wrote by Cao Xueqin to form an integral book which has one hundred and twenty chapters，I must briefly introduce the value of the forty chapters wrote by Gao E--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 08:46, 10 November 2021 (UTC)

==罗曦 Luó Xī 英语语言文学（英美文学）女 202120081512==
率先冲破评点派和索隐派而从中国小说发展史的角度客观评价高鹗续书的是胡适先生。他在1921年11月12日定稿的《〈红楼梦〉考证》（见1923年亚东图书馆版《胡适文存》）中说：我们平心而论，高鹗补的四十回，虽然比不上前八十回，也确然有不可埋没的好处。他写司棋之死，写鸳鸯之死，写妙玉的遭遇，写凤姐的死，写袭人的嫁，都是很有精采的小品文字。
The man who first transcend the groups of criticizing and objectively comment the continuation of Gao E from the perspective of the history of the development of Chinese novels is Hu Shi.He said in his 《Test of the Dream of the red mansions》finalised in 1921，12th November that：“To be honest，Gao E’s supplementary forty chapters，though not comparable to the original eighty chapters，still boast their own outstanding merits.For instance，he wrote the death of Si Qi，of Yuan Yang，of Feng Jie，the encounter of Miao Yu and the marriage of Xi Ren，are all excellent facetious words.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 12:08, 9 November 2021 (UTC)

It was Mr. Hu Shi who firstly made a breakthrough between “Pingdian Group” and “Suoying Group” and objectively evaluated Gao E’s continuation from the perspective of Chinese novel’s history. In ''A Textual Research on A Dream of Red Mansions'' finalized on November 12, 1921 (''Hu Shi’s Article Archive'', Yadong Library Edition, 1923), he said, “To be fair, the following forty episodes written by Gao E certainly have undeniable charm although not as good as the previous eighty. He ended Siqi’s life with death, wrote about the death of Yuanyang, the suffering of Miaoyu, Sister Feng’s demise and the marriage of Xiren, all of which are really brilliant sketches. --[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 06:31, 12 November 2021 (UTC)

==马新 Mǎ Xīn 外国语言学及应用语言学女 202120081513==
最可注意的是这些人都写作悲剧的下场。还有那最重要的“木石前盟”一件公案，高鹗居然忍心害理的教黛玉病死，教宝玉出家，作一个大悲剧的结束，打破了中国小说的团圆迷信。这一点悲剧的眼光，不能不令人佩服。

It is noteworthy that all these people wrote about tragic endings, expecially th most important case of " Wood and Stone's Previous Oath". In the novel, Gao E auturally had the heart to leave Daiyu to die of illness and Baoyu to become a monk. He made it ended up as a great tragedy and broke the routine of "reunion superstition" in traditional Chinese novels, which could not be more admirable from the tragic perspective.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 05:00, 7 November 2021 (UTC)

It is most noteworthy that all these characters are created with tragic endings. And as regards the most important case --- "The Pledge in front of Wood and Stone", in the novel, the author Gao E actually ended Mascara Jade Forest's (Lin Daiyu's) life with death resulting from illness and left Precious Jade Merchant (Jia Baoyu) to become a monk. Gao E finished ''A Dream of Red Mansions'' with a tragical epilogue so as to break the superstition that Chinese novels routinely end in happy reunion. In this sense, Gao E's tragic perspective deserves admiration and praise.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:09, 7 November 2021 (UTC)

==毛雅文 Máo Yǎwén 英语语言文学（英美文学）女 202120081514==
我们试看高鹗以后，那许多续《红楼梦》和补《红楼梦》的人，那一个不是想把黛玉、晴雯都从棺材里扶出来，重新配给宝玉？那一个不是想做一部“团圆”的《红楼梦》的？我们这里退一步想，就不能不佩服高鹗的补本了。我们不但佩服，还应该感谢他，因为他这部悲剧的补本……居然打倒了后来无数的团圆《红楼梦》，居然替中国保存了一部有悲剧下场的小说！

As we can see, after Gao E finished ''A Dream of Red Mansions'' (which was left unfinished by the previous author Cao Xueqin), many of those who wrote this work continually or supplementarily were all eager to save Mascars Jade Forest (Lin Daiyu) and Sunny Cloud Formation (Qing Wen), who died and lay in coffin, and then to betroth them to Precious Jade Merchant (Jia Baoyu). And these writers all had the desire to end the story in a warm reunion. On second thought, we cannot but have a high opinion of Gao E's supplementary version ''A Dream of Red Mansions''. Arguably, not only should we admire but show gratitude for him, on the grounds that, his edition packed with tragic color is unexpectedly more laudatory than those with happy endings, actually preserving a novel with the tragical epilogue in China.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 07:35, 7 November 2021 (UTC)

As we can see, after Gao E finished ''A Dream of Red Mansions'' (which was left unfinished by the previous author Cao Xueqin), many of those who wrote this work continually or supplementarily were all eager to save Lin Daiyu and Qing Wen (or Sunny Cloud Formation), who died and lay in coffin, and then to betroth them to Jia Baoyu (or Precious Jade Merchant). Which writer did not want to create "A Dream of the Red mansion" with a reunion ending? On second thought, we cannot but have a high opinion of Gao E's supplementary version ''A Dream of Red Mansions''. Arguably, not only should we admire but show gratitude for him, on the grounds that, his edition packed with tragic color is unexpectedly more laudatory than those with happy endings, actually preserving a novel with the tragical epilogue in China.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 12:33, 7 November 2021 (UTC)

==毛优 Máo Yōu 俄语语言文学女 202120081515==
几乎与胡适同时，俞平伯先生也对高鹗的续书予以专章论述。他在1923年亚东图书馆出版的《红楼梦辨·论续书底不可能》中说：从高鹗以下，百馀年来，续《红楼梦》的人如此之多，但都是失败的……我以为凡书都不能续，不但《红楼梦》不能续；凡续书的人都失败，不但高鹗诸人失败而已。
Almost at the same time as Hu Shi, Mr. Yu Pingbo also devoted a chapter to the continuation of Gao E's book. He said in the "A Dream of the Red Mansion - the impossibility of the continuation of the book" published by the Yadong Library in 1923: From Gao E down, more than a hundred years, so many people have renewed the "A Dream of the Red Mansion", but they all failed ...... I think all books can not be renewed, not only the "A Dream of the Red Mansion" can not be renewed; all the people who renewed the book failed, not only Gao E and others failed.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 12:27, 7 November 2021 (UTC)

Almost at the same time as Hu Shi, Mr. Yu Pingbo also devoted a comment chapter to the continuation of Gao E. He said in the "A Dream of the Red Mansion - the impossibility of the continuation of the book" published by the Yadong Library in 1923: Since Gao E, more than a hundred years, so many people have renewed the "A Dream of the Red Mansion", but they all failed ... I think all books can not be renewed, not only the "A Dream of the Red Mansion" is in the case; all the people who renewed books failed, not only Gao E and others did.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 01:43, 8 November 2021 (UTC)

==牟一心 Móu Yīxīn 英语语言文学（英美文学）女 202120081516==
因此他的结论是：高鹗诸人续写的《红楼梦》都是“狗尾续貂”。俞先生“凡书都不能续”、“凡续书的人都失败”的说法未免武断，至少措辞不够严谨。事实上，成功的续书并非没有，只是不多。

Therefore, his conclusion is: The continuations of "The Dream of Red Mansions" written by the Gao E and others are all "wretched sequels to a masterpiece." Mr. Yu’s statement that “every book cannot be continued” and “everyone who renews a book fails” is a bit too arbitrary, at least the wording is not rigorous enough. In fact, successful continuations do exist, but are not substantial.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 01:29, 8 November 2021 (UTC)

He therefore concludes that the sequels to Dream of the Red Chamber written by the Gao Ospreys are all "dog tails on a marten", which means a wretched sequels to a masterpiece. Mr. Yu's statement that "all books cannot be renewed" and "all those who renew books will fail" is arbitrary, or at least not carefully worded. In fact, successful continuations do exist, but are not substantial.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 23:35, 9 November 2021 (UTC)

==彭瑞雪 Péng Ruìxuě 法语语言文学女 202120081517==
且不说成功的学术著作不乏范例，就是小说作品的续书也有成功的。譬如清代陈忱的《水浒后传》、近代吴趼人的《新石头记》，就都是别开生面之作。不过俞先生毕竟是严肃的学者，尽管他对高鹗的续书很不满意，却对高鹗的功绩予以肯定。

Not to mention that there is no shortage of examples of successful scholarly works, there are also successful sequels to works of fiction. For example, Chen Chen's ''The Afterlife of Water Margin'' in the Qing dynasty and Wu Jianren's ''The New Story of the Stone'' in the modern era are both original works. But Mr. Yu, after all, was a serious scholar, and although he was dissatisfied with Gao E's sequel, he acknowledged Gao's merits.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 23:25, 9 November 2021 (UTC)

Not to mention that there is no shortage of successful examples of scholarly works, there are also successes in sequels to works of fiction. For example, Chen Chen's ''The Afterlife of Water Margin'' in the Qing dynasty and Wu Jianren's ''The New Story of the Stone'' in the modern era are both original works in new forms. But Mr. Yu, after all, was a serious scholar, and although he was dissatisfied with Gao E's sequel, he acknowledged Gao's merits.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 09:06, 7 November 2021 (UTC)

==秦建安 Qín Jiànān 外国语言学及应用语言学女 202120081518==
他在《红楼梦辨·后四十回底批评》中说：高鹗以审慎的心思，正当的态度来续《红楼梦》；他宁可失之于拘泥，不敢失之于杜撰。其所以失败：一则因《红楼梦》本非可以续补的书，二则因高鹗与曹雪芹个性相差太远，便不自觉地相违远了。处处去追寻作者，而始终赶他不上，以致迷途；这是他失败时底光景。

He said in the ''Defense of The Dream of Red Mansion: the criticism of the last forty chapters'': “GaoE continued writing The Dream of Red Mansion with his prudent intention and serious attitude; He would rather make it up than adhere to it. There are two reasons for the failure of his version. The first is that the book itself is not a book that can be continued writing. The other is GaoE’ s character is different far from Cao Xueqin’sw which naturally lead to his misconception about this book. He tried his best to catch the main points of Cao Xueqin whereas he even couldn’t see the back of Cao Xueqin resulting in the wrong path. This is his background of failure.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 08:11, 7 November 2021 (UTC)

He said in the '' Defense of A Dream of Red Mansions: the criticism of the last forty chapters '': “Gao E continued writing '' A Dream of Red Mansions '' with his prudent intention and serious attitude; He would rather rigidly adhere to the content than fabricate some details. There are two reasons for the failure of his version. The first is that this novel itself is not the one that can be continued writing. The other is that Gao E’ s character is different far from Cao Xueqin’s which naturally lead to very distinct characteristics in this novel. He tried his best to catch the main points of Cao Xueqin whereas he even couldn’t see the back of Cao Xueqin resulting in the wrong path. This is the reason of his failure.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 13:28, 8 November 2021 (UTC)

==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==
至于混四十回于八十回中，就事论事，是一种过失；就效用影响而论，是一种功德；混合而论是功多罪少。“失败了，光荣地失败了！”是我对于高鹗底赞扬和指斥。俞先生在晚年对高鹗的续书给予更多的肯定，认为高鹗的续书使残缺的《红楼梦》成为完璧，是一大功劳。

As for adding forty chapters to the original eighty chapters, sticking to the facts, it is actually a demerit. However, it can be a kind of merits and virtues in terms of utility effect. With regarding to several aspects, and his merits can more than wipe out his faults. “Failed, gloriously failed!”It's my praise and rebuke to Gao E. In the later years of Mr. Yu, he gave more recognition to Gao E’sequel, believing that Gao E’ sequel made the fragmentary ''A Dream of Red Mansions'' a complete story which was a great credit.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 13:25, 8 November 2021 (UTC)

As for mixing the forty chapters to the original eighty chapters, actually it is a kind of negligence in terms of facts; in terms of effectiveness and influence, it is a kind of merit; in terms of mixing, it is more meritorious and less sinful. "Failed, failed gloriously!" I praised and reprimanded Gao E. In his later years, Mr. Yu gave more affirmation to Gao E’s sequel, and believed that Gao E’ s sequel made the incomplete ''Dream of Red Mansions'' a great achievement.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 05:16, 12 November 2021 (UTC)

==饶金盈 Ráo Jīnyíng 英语语言文学（语言学）女 202120081520==
鲁迅先生也对高鹗的续书予以肯定，只是对书末贾府的“复振”表示遗憾。他在《中国小说史略》（1923、1924年由北京大学新潮社分上下册出版，1925年由北京北新书局合为一册出版）第二十四篇中说：后四十回虽数量止初本之半，而大故迭起，破败死亡相继，与所谓“食尽鸟飞独存白地”者颇符，惟结束又复振。

Lu Xun also gave a approval to the sequel of the book by Gao E, but regretted the “revitalization” part of Merchant’s mansion at the end of the book. He claimed in Chapter 24 of ''Chinese Novel Outline History''(In 1923 and 1924, published in two volumes by the New Trend Union of Peking University, and in 1925, published in one volume by Beixin Publishing House in Beijing) that although the latter forty chapters is only half of the original version in quantity, there are great changes, ups and downs, and dilapidated deaths one after another, which is very consistent with the so-called “eating all birds and flying alone in the white land”, but it ends and vibrates again.
--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 09:14, 7 November 2021 (UTC)

Lu Xun also affirmed Gao E’s sequel, and just expressed regret for the “revitalization” of Merchant Mansion at the end of the book. He claimed in chapter 24 of Chinese Novel Outline History(In 1923 and 1924, published in two volumes by the New Trend Union of Peking University, and in 1925, published in one volume by Beixin Publishing House in Beijing) that although the last forty chapters are only half of the original version in quantity, events occurred constantly and loss and death were in succession, which was quite consistent with the statement “birds ate and flew, then left the bleak place”. But it was a pity that the sequel ended in revitalization. --[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 00:58, 8 November 2021 (UTC)

==石丽青 Shí Lìqīng 英语语言文学（英美文学）女 202120081521==
以上三位权威学者对高鹗续书的评价不尽相同，但有两点共识：高鹗的后四十回逊于曹雪芹的前八十回，但他完成了曹雪芹的未竟之业，使残缺的《红楼梦》成为完璧；尤其打破了中国传统小说的“团圆迷信”，使《红楼梦》成为中国小说史上首部悲剧小说，这在中国小说发展史上是一个伟大创举。我认为三位先生的这两点共识是客观公正的，是高见卓识。

The above three authoritative scholars hold various comments on Gao E’s sequel, sharing two points of consensus. One the one hand, Gao E’s last forty chapters are inferior to Cao Xueqin’s first eighty counterparts, but he has completed Cao’s unfinished work, rendering A Dream in Red Mansions perfect. On the other hand, in particular, Gao E breaks the routine of “reunion superstition”in traditional Chinese novels and makes A Dream in Red Mansions the first tragic writing in the past records of Chinese novels, which is a great pioneering work in the history of Chinese novel development. As far as I am concerned, these two points proposed by the three respected scholars are objective, fair and insightful. --[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 14:23, 6 November 2021 (UTC)

The above three authoritative scholars hold various comments on Gao E’s sequel, but sharing two points of consensus. One the one hand, Gao E’s last forty chapters are inferior to Cao Xueqin’s first eighty counterparts, but he has completed Cao’s unfinished work, rendering the incomplete ''A Dream in Red Mansions'' complete. On the other hand, in particular, Gao E breaks the routine of “reunion superstition”in traditional Chinese novels and makes ''A Dream in Red Mansions'' become the first tragic writing in the past records of Chinese novels, which is a great pioneering work in the history of Chinese novel development. As far as I am concerned, these two points proposed by the three respected scholars are objective, fair and insightful.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 06:49, 9 November 2021 (UTC)

==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学女 202120081522==
晚近的某些“新红学家”尽管对高鹗大加挞伐，却无法推翻三位先生的这两点共识；最多只能进一步证明高鹗的续书比不上曹雪芹的原作，而不能抹煞高鹗续书的这两大功绩。我们可以设想，如果没有高鹗的续书，只能有两种结果：一是我们只能看到一部残缺不全的《红楼梦》，犹如只能欣赏一只断尾巴的孔雀；二是我们只能看到《红楼复梦》、《红楼圆梦》之类下三流续作，使《红楼梦》跳不出“团圆”小说的窠臼。

Although some recent "new Redologists" criticized Gao E drastically, they could not overturn the consensus of the three gentlemen; at most, they could only further prove that Gao E's sequel is not comparable to Cao Xueqin's original, rather than erase the two achievements of Gao E's renewal. We can imagine that if we have no Gao E's sequel, there can only be two results: one is that we can only see an incomplete ''A Dream of Red Mansions'', like only enjoying a peacock with a broken tail, the other is that we can only see ''A Dream of Red Mansions Again'', ''A Dream of Red Mansions Reunion'' and other renewals that are third-classs, which makes ''A Dream of Red Mansions'' cannot jump out of the mold of "reunion" novel.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 06:45, 9 November 2021 (UTC)
--[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 16:25, 9 November 2021 (UTC)

Although some recent “new Redologists” criticized Gao E drastically, they could not overturn the two consensuses of the three gentlemen; they could only further prove that Gao E's sequel is not comparable to Cao Xueqin's original, rather than obliterate the two achievements of Gao E's continuation. We can imagine that, without Gao E's sequel, there would be only two results: one is that we could only see an incomplete ''A Dream of Red Mansions'', as if we could only appreciate a peacock with a broken tail, the other is that we can only see such third-rate sequels like ''A Dream of Red Mansions'' Again, ''A Dream of Red Mansions Reunion'', making ''A Dream of Red Mansions'' cannot jump out of the set pattern of "reunion" novel. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 06:17, 10 November 2021 (UTC)

==王李菲 Wáng Lǐfēi 英语语言文学（英美文学）女 202120081523==
因此，不仅我们应该感谢高鹗，如果曹雪芹地下有知，也会视高鹗为知己。胡适等三位先生论证了高鹗的两大功绩，就等于完全肯定了完整的一百二十回的《红楼梦》。但完整的《红楼梦》有两种版本，即“程甲本”和“程乙本”，两者的出版时间仅隔一年左右。

Therefore, not only should we be grateful to Gao E, if Cao Xueqin was alive and knew about it, he would also regard Gao E as a confidant. Hu Shi and other three gentlemen demonstrated Gao E’s three achievements, which was equivalent to confirming the complete 120 chapters of a Dream of Red Mansions. However, there are two versions of the complete work, namely the “Cheng A edition” and “Cheng B edition”, whose publishing interval was only about one year. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 15:35, 6 November 2021 (UTC)

Hu Shi and other three gentlemen demonstrated gao e's two great achievements, which is equivalent to confirming the complete 120 chapters of a Dream of Red Mansions. However, there are two versions of the complete work, namely the "Cheng Jiabo edition" and "Cheng Yibo edition", which were published only about a year apart.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 05:17, 12 November 2021 (UTC)

==王逸凡 Wáng Yìfán 亚非语言文学女 202120081524==
这两种版本究竟哪一种更好呢？当然是“程乙本”，因为它是高鹗对“程甲本”精心修订的定稿本。程伟元和高鹗在“程乙本”《〈红楼梦〉引言》中说：因急欲公诸同好，故初印时不及细校，间有纰缪。今复聚集各原本，详加校阅，改订无讹。

Which of these two versions is better? Of course, it is "Cheng Yi", because it is gao e to "Cheng Jia" carefully revised final version. Cheng Weiyuan and Gao E said in "Cheng Yi" "DREAM of Red Mansions" introduction: Due to the urgent desire for public relations, the initial printing was not corrected in detail, and there were mistakes. This complex gathered the original, detailed review, change without error.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 05:12, 12 November 2021 (UTC)

Which version is better? Of course, it is "Cheng Yi", because it is gao e to "Cheng Jia" carefully revised final version. Cheng Weiyuan and Gao E said in "Cheng Yi" "DREAM of Red Mansions" introduction: Due to the urgent desire for public relations, the initial printing was not corrected in detail, and there were mistakes. This complex gathered the original, detailed review, change without error.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 12:36, 22 November 2021 (UTC)

==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学）男 202120081525==
惟阅者谅之。这就是说，高鹗续写后四十回并修订曹雪芹的前八十回时，“因急欲公诸同好”，未能像曹雪芹那样“批阅十载，增删五次”，而是匆促而成，在排印过程中又没有仔细校对，以致“纰缪”难免，因而立即加以修订再版，从而产生了“程乙本”。可见“程乙本”是对“程甲本”的“纰缪”加以修订的本子，自然胜于“程甲本”了。

Only those who read it will forgive it. That is to say, when Gao E continued to write the last 40 chapters and revised Cao Xueqin's first 80 chapters, "because he was anxious to be good to the public", he failed to "review for ten years, add and delete five times" as Cao Xueqin did.Hurriedly,he did not proofread carefully in the process of typesetting, so that "mistakes" were inevitable.Therefore, he immediately revised and reprinted it, resulting in "the version of Cheng Yi". It can be seen that "the version of Cheng Yi" is a book to revise the "mistakes" of "the version of Cheng Jia", which is naturally better than "the version of Cheng Jia".--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 02:57, 10 November 2021 (UTC)

Only readers will forgive it. That is to say, when Gao E continued to write the last 40 chapters and revised Cao Xueqin's first 80 chapters, he was anxious to share it with the public, so he failed to review for ten years, add and delete five times as Cao Xueqin did.He hurried to finish it, not proofreading carefully in the process of typesetting, so mistakes were inevitable. Therefore, \ he immediately revised and reprinted another verison, resulting in appearing "Cheng Yi (the second) Edition". It can be seen that " Cheng Yi" is a book to revise the "mistakes" of "Cheng Jia (the first) Edition", which is naturally better than "Cheng Jia".--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 07:43, 13 November 2021 (UTC)

==卫怡雯 Wèi Yíwén 英语语言文学（英美文学）女 202120081526==
然而由于出版商不加细较，以为初刊本更为可靠，以致在相当一段时间内，翻印的“程甲本”曾大行其道。直到1927年，胡适先生因亚东图书馆老板汪元放先生点校并出版过“程甲本”，便将自己珍藏的“程乙本”推荐给汪先生。汪先生便将“程乙本”与“程甲本”加以仔细对勘，并加上新式标点，予以出版。

However, the publisher did not go into details, and believed that the first edition was more reliable. So in a fairly long period, the translated and printed “Cheng Jia (the first) Edition” became popular. Until 1927, Mr. Hushi recommended his treasured collection of “Cheng Yi (the second) Edition” to the owner of Yadong Library, Mr. Wang Yuanfang after he heard that Mr. Wang had punctuated, proofead and published“Cheng Jia (the first) Edition”. Then Mr. Wang checked against another between “Cheng Jia” and “Cheng Yi” , added the new punctuation and published it.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 03:17, 10 November 2021 (UTC)

However, the publisher did not proofread carefully and believed that the first edition was more reliable. So in a fairly long period, the printed “Chengjia Edition” became popular. Until 1927, Mr. Hushi recommended his treasured collection of “Chengyi Edition” to Mr. Wang Yuanfang who was the owner of Yadong Library because Mr. Wang once proofread and published “Chengjia Edition”. Then Mr. Wang contrasted “Chengjia Edition” with “Chengyi Edition” in detail and decided to add the new-style punctuations to the latter and publish it.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 11:00, 12 November 2021 (UTC)

==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学）女 202120081527==
胡适先生并为该书写了《重印乾隆壬子本〈红楼梦〉序》。他在《序》文中说：现在印出的程乙本，就是那“聚集各原本，详加校阅，改订无讹”的本子，可说是高鹗、程伟元合刻的定本。这个改本有许多改订修正之处，胜于程甲本。

Mr.Hushi wrote "A Preface for the Re-printed Qianlong Renzi Edition of ''A Dream in Red Mansions''" for this book. In the preface, he said that the newly-printed Chengyi edition which was revised carefully by referring to all kinds of original editions to make sure no incorrect information in it, was the final edition made by Gao E and Cheng Weiyuan. This edition had many corrections so it was better than the Chengjia edition. --[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 08:47, 11 November 2021 (UTC)

Mr.Hushi has written ''A Preface for the Re-printed Qianlong Renzi Version of "''A Dream in Red Mansions''"'' for this book. In this preface, he said that the current printed Chengyi edition was the final edition made by Gao E and Cheng Weiyuan which was revised carefully by gathering all kinds of original editions to make sure no incorrect information was in it. This edition had many corrections so it was much better than the Chengjia edition.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 06:58, 23 November 2021 (UTC)

==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学）女 202120081528==
但这个本子发行在后，程甲本已有人翻刻了；初本的一些矛盾错误仍旧留在现行各本里，虽经各家批注里指出，终没有人敢改正。胡适先生并举了三个例子，以证明“程乙本”胜于“程甲本”。由此可知，胡适先生不仅是第一个发现并公开指出“程乙本”胜于“程甲本”的人，而且推荐并贡献出了自己珍藏的“程乙本”初刊本，为“程乙本”后来的广泛流行起了决定性的作用。

But after the release of this edition, Cheng Jia edition has already been reprinted. Some contradictions and errors from the original edition still remained in the current edition. Although many literary masters has pointed out these mistakes in their annotations, no one eventually dared to correct them. And Mr. Hu Shi gave three examples to prove that Cheng Yi edition was better than Cheng Jia edition. So it can be seen that he was not only the first to discover and publicly pointed out this, but also recommended and contributed the original Cheng Yi edition of his own treasure, which played a decisive role in the wide popularity of this edition.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 00:55, 7 November 2021 (UTC)

But after the release of this edition, Cheng Jia edition has already been reprinted. Some contradictions and errors of the original edition still remained in the current edition. Although many literary masters had pointed out these mistakes in their annotations, but no one eventually dared to correct them. And Mr. Hu Shi gave three examples to prove that Cheng Yi edition was better than Cheng Jia edition. So it can be seen that he was not only the first to discover and publicly pointed out this, but also recommended and contributed the original Cheng Yi edition of his own treasure, and that played a decisive role in the wide popularity of its edition.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 06:19, 7 November 2021 (UTC)

==吴婧悦 Wú Jìngyuè 俄语语言文学女 202120081529==
汪原放先生也没有辜负胡适先生的重托，不仅出版了“程乙本”，而且对两个“程本”加以仔细对勘，并用增删改动文字的统计数字与具体例子（详见下文），进一步证明了“程乙本”优于“程甲本”。由于胡适先生的学术威望和汪原放先生点校的“程乙本”面世，尤其是“程乙本”确实胜于“程甲本”，故此后书商大多舍弃了“程甲本”，竞相刊印“程乙本”，“程乙本”几乎一统天下。这种局面一直持续到上世纪五六十年代。

Mr.Wang Yuanfang also lived up to the great trust of Mr.Hu Shi. He not only published "Cheng Yiben", but also carefully surveyed the two "Cheng Yiben", and changed the statistics and specific examples (see below for details), further proving that "Cheng Yiben" was better than "Cheng Jiaben". Because Mr.Hu Shi's academic prestige and Mr.Wang Yuanfang's "Cheng Yiben" were published, especially "Cheng Yiben" was indeed better than "Cheng Jiaben", so most booksellers abandoned "Cheng Jiaben" and competed to print "Cheng Yiben", " Cheng Yiben " almost unified the whole world. The situation has been continuing until the 1950s and 1960s.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:48, 6 November 2021 (UTC)
Mr. Wang Yuanfang also lived up to Mr. Hu Shi's great trust. He not only published "Cheng Yi Ben", but also carefully surveyed the two "Cheng Ben", and further proved that "Cheng Yi Ben" was better than "Cheng Jia Ben" with statistics and specific examples of adding, deleting and changing words (see below for details). Due to the academic prestige of Mr. Hu Shi and the appearance of "Cheng Yi Ben" ordered by Mr. Wang Yuanfang, especially "Cheng Yi Ben" is indeed better than "Cheng Jia Ben", most booksellers abandoned "Cheng Jia Ben" and competed to publish "Cheng Yi Ben" and "Cheng Yi Ben" almost dominates the world. This situation lasted until the 1950s and 1960s.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 13:31, 7 November 2021 (UTC)

==吴映红 Wú Yìnghóng 日语语言文学女 202120081530==
然而到了八十年代以后，“程乙本”一统天下的局面却被打破了，各种版本的《红楼梦》纷纷涌现，其中多为拼凑本，即前八十回采用抄本，后四十回则多采用高鹗作废了的“程甲本”，从而造成了《红楼梦》版本的混乱现象。这种混乱现象使本来已经解决了的《红楼梦》版本问题又重新出现纷争，也使普通读者陷入了不知如何选择《红楼梦》的境地。
However, after the 1980s, the situation of "Cheng Yi Ben" dominating the world was broken, and various versions of a dream of Red Mansions emerged one after another, most of which were piecemeal copies, that is, the transcripts of the first 80 chapters were used, and the "Cheng Jia Ben" cancelled by Gao e was used in the last 40 chapters, resulting in the confusion of the version of a dream of Red Mansions. This chaotic phenomenon makes the original version of a dream of Red Mansions once again controversial, and makes ordinary readers fall into the situation of not knowing how to choose a dream of Red Mansions.

However, after the 1980s, the dominating situation of "Cheng Yi version"was broken, and various versions of The Dream of Red Mansions emerged one after another, most of which were cobbled together, where the first eighty editions used the codified version, while the last forty editions mostly used Gao E's cancelled Cheng Jia version, thus causing confusion in the version of a Dream of Red Mansions.This kind of confusion makes the issue of the edition of a Dream of Red Mansions reappear, and also makes ordinary readers have no idea how to choose a Dream of Red Mansions.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 06:27, 10 November 2021 (UTC)

==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学）女 202120081531==
钱锺书先生虽然不研究《红楼梦》，但对《红楼梦》版本的混乱现象却很不以为然。他在上世纪九十年代说过（大意）：《红楼梦》研究中的许多纠葛与纷争，大多源于版本问题。在同一问题上，张三根据这个版本，李四根据那个版本，公说公有理，婆说婆有理，一万年也说不清，实在无谓得很。

Although Qian zhongshu never study ''The Dream of Red Mansions'', he considers that the phenomenon of mess versions does not really matter.In the 1990s, he said that (roughly meaning)most of the disputes in the study of ''The Dream of Red Mansions'' resulted from the issue of versions. On the same issue, different people refer to different versions for their so-called reasonable purpose.Thus, the disputes can never be settled. And such a phenomenon is really meaningless.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 06:23, 10 November 2021 (UTC)

Although Qian zhongshu never study ''The Dream of Red Mansions'', he considered disapprovingly that the phenomenon of chaos versions does not really matter.In the 1990s, he said that (a rough meaning)most of the disputes in the study of ''The Dream of Red Mansions'' resulted from the issue of versions. On the same issue, different people refer to different versions for their so-called reasonable purpose.Thus, the disputes can never be settled. And such a phenomenon is really meaningless.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 06:47, 10 November 2021 (UTC)

==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学）女 202120081532==
这是《红楼梦》的悲剧，也是中国学界的悲剧。为了永久保存《红楼梦》这笔珍贵遗产，也为了给广大读者提供一个《红楼梦》的范本，必须从众多版本中确定一个最好的版本，而这个版本就是胡适先生推荐的“程乙本”。至于其他版本，则只供研究之用。

This is not only the tragedy of The Dream of the Red Chamber , but also the tragedy of Chinese academic circles. In order to permanently preserve the precious heritage of The Dream of the Red Chamber and provide readers with a model of The Dream of the Red Chamber, we must determine the best version from many versions, and this version is the "Cheng Yi version" recommended by Mr. Hu Shi. Other versions are only for research purposes only.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 14:00, 6 November 2021 (UTC)

This is not only a tragedy of Dream of the Red Chamber , but also a tragedy of Chinese academic circles. In order to permanently preserve the precious heritage of Dream of the Red Chamber and provide readers with a model of Dream of the Red Chamber, we must determine the best version from many versions, and this version is the "Cheng Yi version" recommended by Mr. Hu Shi. Other versions are only for research purposes only.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 11:15, 7 November 2021 (UTC)

==谢庆琳 Xiè Qìnglín 俄语语言文学女 202120081533==
我完全赞成以上诸位先生的看法，毋须我再费笔墨，所以我在这里只是为他们的看法提供一些实例。首先，“程乙本”的前八十回由于经过了高鹗(也许还有程伟元)的大量修订，较之诸抄本大有改观，使之更加完善。具体来说，就是对众多异文加以筛选，去除讹误，择善而从，并加以必要的补阙、修改、删节和增饰。

I totally agree with the views of the above teachers, so I don't need to say more, so I will just provide some examples for their views here. First of all, the first eighty books of "Cheng Yi version" have been revised extensively by Gao Osprey (and perhaps Cheng Wei Yuan), which is a great improvement over the codices and makes it more perfect. Specifically, it is the screening of many different texts, the removal of errors, the selection of good, and the necessary additions, modifications, abridgments and additions.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 10:56, 7 November 2021 (UTC)

I totally agree with the opinions of you all, so I don't bother to say more. So I will just provide some examples for their views here. First of all, the first eightith chapters of "Cheng Yi's version" have been revised for many times by Gao Osprey (and perhaps Cheng Wei Yuan), which is an improvement over the codices and makes it more perfect. Specifically, it made a selection from many different texts, corrected errors, selected the good, and offered the necessary additions, modifications, removal and polishment.--[[User:Xiong Min|Xiong Min]] ([[User talk:Xiong Min|talk]]) 07:28, 8 November 2021 (UTC)

==熊敏 Xióng Mǐn 英语语言文学（英美文学）女 202120081534==
试举六例如下：例一：原作第十七、十八两回合用一套回目，第十九回没有回目。高鹗将那套合用的回目归第十七回，而为第十八、十九两回补拟了回目。例二：原作第十八回写元妃省亲回府，“只见园中香烟缭绕，花彩缤纷，处处灯光相映，时时细乐声喧，说不尽太平景象，富贵风流”，下面却接着有这样一段：此时自己回想当初在大荒山中青埂峰下，那等凄凉寂寞。

Here are six examples. Firstly, the chapter 17 and 18 of the original work shared the same title and the 19th one didn't have have any. Gao-E merged the shared one into chapter 17 and rethought a title for chapter 18 and 19. Secondly, chapter 18 in the original one showed that Yuan concubine visited relatives, as "See nothing but scent lingering, flowers blossoming, lights glistening and bustle hustleing.WHat a stable and flourish society!" Here goes another saying: at that time I recalled the time when I in the foot of Dahuangshan Mountain, and I felt so lonely.

Here are six examples. Firstly, the chapter 17 and 18 of the original work shared the same title and the 19th one didn't have any. Gao'E merged the shared one into chapter 17 and rethought a title for chapter 18 and 19. Secondly, chapter 18 in the original one showed that Yuan concubine visited relatives, as "See nothing but scent lingering, flowers blossoming, lights glistening and bustle hustleing.WHat a stable and flourish society!" Here goes another saying: at that time I recalled the time when I in the foot of Dahuangshan Mountain, and I felt so lonely.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 09:55, 14 November 2021 (UTC)

==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究男 202120081535==
若不亏癞僧、跛道二人携来到此，又安能得见这般世面？本欲作一篇《灯月赋》、《省亲颂》，以志今日之事，但又恐入了别书的俗套。按此时之景，即作一赋一赞，也不能得尽其妙；即不作赋、赞，其豪华富丽，观者诸公亦可想而知矣。

If the Monk and the Taoist don't bring me here, how could I can see such elephant. I wanted to write an ''Ode to Lantern Moon'' or ''Ode to Visiting Relatives'' to commemorate today's event, but I was afraid to falling into the conventions of other books. The scene of this period, we can't get its wonderful in length even we write a praise. And if we don't write, the viewer also can imagine its luxurious richly.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:26, 10 November 2021 (UTC)

If not the monk with scappy head and the lame Taoist priest bring me here, how could I can see such the world like this. I wanted to write an ''Ode to Lantern Moon'' or ''Ode to Visiting Relatives'' to commemorate today's event, but I was afraid to falling into the conventions of other books. In the scene of this period, we can't get the wonderfulness in length even we write a praise. And if we don't write, the viewer also can imagine its luxury and richness.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 02:18, 12 November 2021 (UTC)

==颜静 Yán Jìng 语言智能与跨文化传播研究女 202120081536==
所以倒是省了这工夫纸墨，且说正经的为是。本书前面已经交代得明明白白，大荒山青埂峰下的那块石头被一僧一道携入红尘后已幻化为口衔通灵宝玉的贾宝玉，而从这段话看，那块石头的化身却是贾元春，难道姐弟二人都是那块石头所化吗？如果说这段话的前大半截是写贾宝玉的心理活动，误安在了贾元春的头上，也还是说不通，因为不可能在描写贾元春省亲观感的文字当中无缘无故插入一段对贾宝玉的心理描写。

Therefore the time to write them is saved, and it is time to talk something serious. It has been clearly explained in the front of this book that the stone under the Loveroot Peak of the Great Wilderness Mountain has been transformed into Precious Jade Merchant with psychic jade in his mouth after being brought into the world by a monk and a Taoist priest. From this paragraph, however, the incarnation of that stone is First Spring Merchant. Are both the sister and brother transformed by that stone? If the first half of this paragraph is about Precious Jade Merchant's psychological activities, and is mistakenly thought as First Spring Merchant's, it still doesn't make sense. Because it is impossible to insert a psychological description of Precious Jade Merchant into the words describing First Spring Merchant's feelings about relatives for no reason.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 10:16, 10 November 2021 (UTC)

If the first half of this paragraph is about Precious Jade Merchant's psychological activities, which is mistakenly thought as First Spring Merchant's, it still doesn't make sense.
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 10:13, 13 November 2021 (UTC)

==颜莉莉 Yán Lìlì 国别女 202120081537==
尤为荒唐的是，从“观者诸公”以下文字，又突然变为作者的第三人称口气，更令人丈二金刚，摸不着头脑。如此语无伦次的拙劣文字，决非曹雪芹的原文，而是抄书者的误抄或窜文。“程乙本”将其全部删除，犹如割除了一个赘瘤，使行文变得合理而又通畅。

What is particularly absurd is that, from the following words "all the audience", and suddenly into the third person tone of the author,which is even more puzzling. Such incoherent poor text, not Cao Xueqin's original text, but the copy of the wrong copy or channelized text. "Cheng Yi version" deleted all of them, just like cutting out a superfluous tumor, so that the writing becomes reasonable and unobstructed.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 12:58, 7 November 2021 (UTC)

Such incoherent poor text, not Cao Xueqin Autor's original text, but the copy of the wrong copy or channelized text. "Cheng Yi version" deleted all of them, just like cutting out a superfluous tumor, so that the writing becomes reasonable and unobstructed.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 14:50, 29 December 2021 (UTC)

==颜子涵 Yán Zǐhán 国别女 202120081538==
例三：原作第二十二回写荣国府作灯谜游戏，目的在于通过各人制作的灯谜，以暗示各自的性情、志向及将来结局，是全书的重要段落。大约因曹雪芹当时没有完全想好，故只写了贾母、贾政、元春、迎春、探春、惜春、宝钗的灯谜，而将宝玉、黛玉、湘云的灯谜暂缺，留待以后补写，不料曹雪芹突然去世，未及补写，致使原稿残缺。高鹗大胆地将原作宝钗的灯谜移作黛玉的灯谜，又增写了宝钗和宝玉的灯谜，我以为移得合理，增作也很精彩。

Example 3: the 22nd episode of the original work is that everyone plays lantern riddles in the Jung-guo-Anwesen ，The purpose is to hint their temperament, aspirations and future outcome through the lantern riddles made by each person，It is an important paragraph of the whole book. It may be that Cao Xueqin Autor didn't think well at that time, so he only wrote the riddles of Grandma Merchant, Master Merchant, First Spring Merchant, Spring Pleasure Merchant, Seeking-Spring Merchant, Cherishing Spring Merchant and Precious Hairpin Marshgrass, but didn't write the riddles of Precious Jade Merchant, Mascara Jade Forest and Fragrant-cloud History for the time being，and planned to fill them up later. Unexpectedly, Cao Xueqin Autor died suddenly and didn't have time to make up, resulting in the mutilation of the original. Gao E boldly changed the lantern riddle of Precious Hairpin Marshgrass into that of Mascara Jade Forest, and added the lantern riddles of Precious Hairpin Marshgrass and Precious Jade Merchant. I think this change is very reasonable and the added part is also very wonderful.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 01:31, 12 November 2021 (UTC)

Example 3: the 22nd chapter of the original work is that everyone plays lantern riddles in the Rong Mansion, The purpose is to hint their temperament, aspirations and future respectively through the lantern riddles made by each person，It is an important plot of the whole work.
Possibly because Cao Xueqin did not think well at that time, he only wrote the riddles of Grandma Merchant, Master Merchant, First Spring Merchant, Spring Pleasure Merchant, Seeking-Spring Merchant, Cherishing Spring Merchant and Precious Hairpin Marshgrass, but didn’t write the riddles of Precious Jade Merchant, Mascara Jade Forest and Fragrant-cloud History for the time being，and planned to fill them up later. Unexpectedly, Cao Xueqin died suddenly and didn’t have time to make up, resulting in the mutilation of the original. Gao E boldly changed the lantern riddle of Precious Hairpin Marshgrass into that of Mascara Jade Forest, and added the lantern riddles of Precious Hairpin Marshgrass and Precious Jade Merchant. I think this change is very reasonable and the added part is also very wonderful.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 07:58, 13 November 2021 (UTC)

==阳佳颖 Yáng Jiāyǐng 国别女 202120081540==
但高鹗也有失误和疏漏：失误在于删掉或漏掉了原作惜春的灯谜，疏漏在于未给湘云补写灯谜。惜春的灯谜我已补入第二十二回（参见该回原文及其注释），以弥补高鹗的失误；而湘云的灯谜却只好仍阙，成为永远的遗憾。例四：原作第二十五回在写王熙凤被魇魔法弄得精神错乱时，插入一段对薛蟠的描写：别人慌张自不必讲，独有薛蟠更比诸人忙到十分：又恐薛姨妈被人挤倒，又恐薛宝钗被人瞧见，又恐香菱被人臊皮──知道贾珍等是在女人身上做功夫的，因此忙的不堪。

However, Gao E also made some mistakes and omissions: the mistake lies in deleting or missing the original lantern riddles made by Cherishing Spring Merchant, and the omission lies in not rewriting the lantern riddles for Fragrant-cloud History. I have added the riddle of Spring-cherish Merchant in Chapter 22 to make up for Gao E’s mistake; But the lantern riddles of Fragrant-cloud History have yet to be unfilled, which becomes a permanent regret. Example 4: In chapter 25 of the original,When writing about Splendid Phoenix King being deranged by magic, a description of Dragon Marshgrass is inserted: The others, it goes without saying,were still more distraught. But of them all Dragon Marshgrass was the most frantic, being afraid that in the crush his mother might be knocked over, Precious Hairpin Marshgrass stared at, or Wiselotus Potterymaker exposed to indignities -- for he knew what libertines Treasure Merchant and the rest were.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 07:43, 13 November 2021 (UTC)

However, Gao E also made a mistake and had an oversight: the mistake lies in deleting or missing the original lantern riddles made by Cherishing Spring Merchant, and the omission lies in not rewriting the lantern riddles for Fragrant-cloud History. I already added the riddle of Spring-cherish Merchant in Chapter 22 to make up for Gao E’s mistake; But Fragrant-cloud History’s lantern riddles have yet to be unfilled, which becomes an eternal regret. Example 4: In chapter 25 of the original,When writing about Splendid Phoenix King being deranged by magic, a description of Dragon Marshgrass is inserted: The others, it goes without saying,were still more distraught. But of them all Dragon Marshgrass was the most frantic, being afraid that in the crush his mother might be knocked over, Precious Hairpin Marshgrass stared at, or Wiselotus Potterymaker exposed to indignities -- for he knew what libertines Treasure Merchant and the rest were.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 14:51, 13 November 2021 (UTC)

==杨爱江 Yáng Àijiāng 英语语言文学（语言学）女 202120081541==
忽一眼瞥见了林黛玉风流婉转，已酥倒在那里。这段话十分荒谬：其一，贾、薛两家为近亲，贾珍与薛宝钗是表兄妹，贾珍怎么敢对表妹起歹心呢？薛蟠岂非杞人忧天？其二，薛蟠虽然混账，与林黛玉也是表兄妹，况且见面的机会很多，薛蟠怎么会“一眼瞥见了林黛玉”就“酥倒在那里”呢？

Dragon Marshgrass's eye suddenly falling on Mascara Jade Forest, he was so enchanted by her charms that he almost melted on the spot. This paragraph is very absurd: First, Family Merchant and Family Marshgrass are close relatives, and Treasure Merchant and Precious Hairpin Marshgrass are cousins. How dare Treasure Merchant want to have a love affair with his cousin? Isn't Dragon Marshgrass entertained imaginary and groundless fear? Second, although Dragon Marshgrass is a jerk, Mascara Jade Forest is his cousin. Besides, there are many opportunities to meet Mascara Jade. How could Dragon Marshgrass“almost melted on the spot when his eye suddenly fell on Mascara Jade Forest”? --[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 09:44, 12 November 2021 (UTC)

Dragon Marshgrass suddenly caught a glimpse of Mascara Jade Forest, who was pretty and gentle, and collapsed there. This paragraph is very absurd: Firstly, Family Merchant and Family Marshgrass are close relatives, and Treasure Merchant and Precious Hairpin Marshgrass are cousins. How dare Treasure Merchant want to have a love affair with his cousin? Isn't Dragon Marshgrass alarmist? Secondly, although Dragon Marshgrass is a jerk, Mascara Jade Forest is his cousin. Besides, there are many opportunities to meet Mascara Jade. How could Dragon Marshgrass “collapsed there because of a glimpse of Mascara Jade Forest”?--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 14:15, 14 November 2021 (UTC)

==杨堃 Yáng Kūn 法语语言文学女 202120081542==
而脂批竟称赞道：“忙中写闲，真大手眼、大手笔。”这如果不是偶然失误，便只能说是不识好歹了。“程乙本”将其删除，倒可当得起“大手眼、大手笔”的评语。例五：原作第六十三回中用了一千多字的篇幅，大写贾宝玉、史湘云等人只是为了好玩，如何将芳官、葵官打扮成“小土番儿”，如何改称“犬戎名姓”。

However, the Zhi Yanzhai's critiques unexpectedly praised: "Snatch a little leisure from a busy writing , which is really big eyes and a big deal." If this is not an accidental mistake, it can only be said to be ungrateful. If "Cheng Yi version" deletes it, it can be regarded as a comment of "big eyes and a big deal". Example 5: in the sixty-third chapter of the original work, more than 1,000 words were used to capitalize the name of Precious Jade Merchant, Fragrant-cloud History and others, which is just for fun, and to describe how to dress Fragrant Official and Sunflower as "Xiao Tu Fan er" and how to change "the surname and name of Quan Rong".--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 14:21, 7 November 2021 (UTC)

However, critiques of Zhi Yanzhai(one of the earliest critics of "A Dream in Red Mansions" ) unexpectedly praised: "Snatch a little leisure from a busy writing , which is really weighty." If it is not an accidental mistake, it can only be said to be ungrateful. "Cheng Yi version" deletes it, thus it can be regarded as the comment of "weighty writings". Example 5: in the sixty-third chapter of the original work, more than 1,000 words were used to describe that how Precious Jade Merchant, Fragrant-cloud History and others dress Fang Guan and Kui Guan as "Xiao Tu Fan er" and how they change "the name of Quan Rong" just for fun.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 06:43, 8 November 2021 (UTC)

==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学）女 202120081543==
而且竟然让贾宝玉说出这样的话来：如今四海宾服，八方宁静，千载百载，不用武备。咱们虽一戏一笑，也该称颂，方不负坐享升平了。这种描写既十分无聊，又与贾宝玉的性格背道而驰，尤其侮辱了包括满族在内的少数民族，真可谓拙劣的文字，因此“程乙本”完全予以删除是绝对必要的。

What's more, in Zhi Yangzhai's version, Precious Jade Merchant said that"Nowadays, people within Four Seas were all submitted and social stability was achieved in all directions. Weapons were not needed in nearly thousands of years. Therefore, our laughs and teases also deserved extolling thus we lived up to the prosperity." This kind of descriptions were very boring and ran counter to the characteristics of Jia Baoyu, and they particularly insulted national minorities including Manchu, which were really bad writings. Thus, it's quite necessary for "Cheng Yi's version" to delete these words.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 07:05, 8 November 2021 (UTC)

What's more, in Zhi Yangzhai's version, Baoyu even said things like this:"Nowadays, people from all over the world bow to our emperor, and social stability's greatly achieved. No military preparation's needed in the days ahead. Therefore, our laughs and teases also deserved extolling thus we lived up to the prosperity." Such descriptions are boring and against Baoyu's characteristic, and also insulted national minorities including Manchu, which are truly awful writings. Thus, it's quite necessary for Cheng&Gao's second version to delete these words.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 06:07, 12 November 2021 (UTC)

==叶维杰 Yè Wéijié 国别男 202120081544==
例六：原作第六十一回开头有一段写柳家的与小厮斗嘴的文字，既毫无意义，又有“几根×毛”、“×声浪嗓”的粗话，故“程乙本”删掉了百馀字也完全正确。像这样的例子不胜枚举，它们足可以证明，高鹗对前八十回的修订是完全必要和合理的，“程乙本”前八十回优于原作的事实是任何人也难以抹煞的。其次，再就两种“程本”而言，由于“程乙本”是“程甲本”的修订本，自然也就更加完善。

Example six: The descriptive words about the argument between Liu's and his servant in the chapter sixty one of the original version are quite meaningless, and vulgarism like "some x hairs","some nasty voices" are also included at the same time，that's why the Cheng&Gao's second version had correctly deleted hundreds of words of the original one. Such examples are numerous and are solid proofs to the necessity and justifiability of Gao E's revision of original former eighty chapters, and it's also undeniable that former eighty chapters in the Cheng&Gao's second version are better than ones in the original. Moreover, in terms of the two versions of Cheng&Gao's, the second version is obviously more perfect for it's revised on the base of the first one.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 05:33, 12 November 2021 (UTC)

Example six: the original 61st back at the beginning of a paragraph to write the fighting words by Liu and his following boy, not only meaningless, but also "a few pubic hair", "obscene voice" of foul language, so "Cheng B book "deleted a few hundred words is also completely correct. Such examples are numerous, and they are sufficient to prove that the revision of the first eighty chapters by Gao Hu is completely necessary and reasonable, and the fact that the first eighty chapters of "Cheng B book" is better than the original is hard to be denied by anyone. Secondly, in terms of the two "Cheng books", since the "Cheng B book" is a revised version of the "Cheng A book", it is naturally more perfect.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 02:37, 12 November 2021 (UTC)Yi Yangfan

==易扬帆 Yì Yángfān 英语语言文学（英美文学）女 202120081545==
关于这一点，最有力的证据是一组现成的统计数字。前面说过，汪原放先生于1927年曾将“程乙本”与“程甲本”加以对勘，并将两者的异文作了统计，其结果是：“程乙本”较之“程甲本”改动(包括增与改)了总共21506字，其中前八十回改动15537字，后四十回改动5969字。(见汪原放《重印乾隆壬子本〈红楼梦〉校读后记》)这些改动主要有三个方面：其一，是对“程甲本”中的“纰缪”文字加以改正。

About this point, the strongest evidence is a set of readily available statistics. As mentioned earlier, Mr. Wang Yuanfang in 1927 compared the "Cheng B book" with the "Cheng A book" and made statistics on the differences between the two texts, and the result was: "Cheng B book" compared with "Cheng A book" changes (including increase and change) a total of 21506 words, including the first eighty chapters changed 15537 words, the last forty chapters changed 5969 words. (See Wang Yuanfang "reprinted Qianlong nonzi book" after reading "Dream of the Red Chamber") These changes are mainly in three aspects: one, is the "Cheng A book" in the "error" text to correct.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 02:38, 12 November 2021 (UTC)Yi Yangfan

The strongest evidence for this is a set of available statistics. As mentioned earlier, Mr. Wang Yuanfang in 1927 compared the "Cheng B book" with the "Cheng A book" and made statistics on the differences between the two texts, and the result was: a total of 21506 words (including complements and modifications) were changed in "Cheng B book" compared with "Cheng A book", including 15537 words changed in the first eighty chapters, and 5969 words changed in the last forty chapters. (Refer to Wang Yuanfang "reprinted Qianlong nonzi book" after reading "Dream of the Red Chamber") These changes are mainly in three aspects: one, is the modification of the "error" text in Cheng A book.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:03, 12 November 2021 (UTC)

==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学）女 202120081546==
如第二回“冷子兴演说荣国府”中，“程甲本”对原作的如下一段文字未作改动：这政老爷的夫人王氏……第二胎生了一位小姐，生在大年初一，就奇了。不想次年又生了一位公子，说来更奇：一落胞胎，嘴里便衔下一块五彩晶莹的玉来，还有许多字迹。这位“小姐”就是贾元春(元妃)，这位“公子”就是贾宝玉。

For example, the "Leng Zixing's speech in Rong Mansion" in chapter 2, "Cheng Jia's translation version" did not change the following text of the original work: The wife of Lord Zheng Mrs Wang…… gave birth to a girl on the first day of the lunar year,which was magical enough. It was even more magical that she gave birth to a boy in the next year: he was born with a colorful and crystal jade in his mouth, and the jade was written by some scripts. The "girl" is First Spring Merchant (Yuan Concubine), while the "boy" is Precious Jade Merchant.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 09:23, 8 November 2021 (UTC)

For example, in the "Son Happy Cold's speech in Glory Mansion" from chapter 2, the following text of the original work remained intact in "Cheng Jia(the first)edition": Lady King, the wife of Master Merchant …… gave birth to her second child, a girl, on the first day of the lunar year, which was magical enough. It was even more magical that she gave birth to a boy in the following year: when he was born, a colorful and crystal jade with many scripts on it was in his mouth. The "girl" is First Spring Merchant (Yuan Concubine), while the "boy" is Precious Jade Merchant.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 10:39, 11 November 2021 (UTC)

==殷美达 Yīn Měidá 英语语言文学（语言学）女 202120081547==
而这段文字显然与第十八回中的一段文字相矛盾：那宝玉未入学之先，三四岁时，已得元妃口传，教授了几本书，识了数千字在腹中：虽为姊弟，有如母子。
“有如母子”的贾元春和贾宝玉，不可能只差一岁，可见第二回那段文字有明显的“纰缪”。“程乙本”将“次年”改为“隔了十几年”，便合情合理了。

This paragraph obviously contradicts with the description in the eighteenth chapter: before Precious Jade,at the age of three or four, entered the school, he had been taught several books by Yuan Concubine(First Spring Merchant) by word of mouth and thus had known thousands of words in his mind. They are sister and brother in blood relation, but more like mother and son. Precious Jade Merchant and First Spring Merchant, "like mother and son",could not be only one year apart,so there is an obvious "mistake"in the paragraph from the second chapter. Therefore, it is reasonable to change "the following year" into "more than a decade after" in "Cheng Yi(the second) Edition".--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:28, 11 November 2021 (UTC)

While this paragraph obviously contradicts with one in the eighteenth chapter: before Precious Jade, at the age of three or four, entered the school, he had been taught several books by Yuan Concubine(First Spring Merchant) by word of mouth and thus had learned thousands of words in his mind. They are elder sister and younger brother, but more like mother and son. Precious Jade Merchant and First Spring Merchant could not be only one year apart,so there is an obvious "mistake" in the paragraph of the second chapter. Therefore, it is reasonable to change "the following year" into "more than a decade after" in "Cheng Yi(the second) Edition".--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 01:53, 12 November 2021 (UTC)

==尹媛 Yǐn Yuán 英语语言文学（英美文学）女 202120081548==
其二，是将文言词语尽量改为白话或俗语，从而使《红楼梦》的语言更为通俗易懂。譬如：“若”改为“要”，“与”改为“给”，“亦”改为“也”，“此”改为“这”，“口”改为“嘴”，“何”改为“为什么”，“如何”改为“怎么”，“如此”改为“这么着”，“葳蕤”改为“委琐”，等等。其三，是增加了许多“儿”字，将词语加以“儿”化，从而使《红楼梦》语言的京味特点更加突出。

Secondly, classical words were changed into vernacular or colloquial language as far as possible so as to make the language of A Dream of Red Mansions more understandable. For instance: "ruo" was translated into "yao"(if), "yu" into "yao"(to), "yi" into "ye"(also), "ci" into "zhe"(this), "kou" into "zui"(mouth),"he" into "wei shen me"(why), "ru he" into "zen me"(how), "ru ci" into "zhe me zhao"(in this way), "weisui" into "weisuo"(obscene) and so on. Thirdly, lots of "er" were added into A Dream of Red Mansions, so that the Beijing flavor of the language in A Dream of Red Mansions is more distinct.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 12:08, 10 November 2021 (UTC)

==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学）女 202120081549==
关于这一点，几乎随处可见，因而不再举例。《红楼梦》是一部近百万字的巨著，要想完全揭示“程乙本”的版本优点，只能将它与其他版本一一对勘，并将异文一一列出。单凭以上的简单说明，只能是挂一漏万。

This point can be seen almost everywhere, so I will not give examples. “Dream of the Red Chamber” is a masterpiece of nearly one million words. If we want to fully reveal the merits of "Cheng Yi's translation version", we can only investigate it with other translation versions and list the differences one by one. The above simple explanation is still incomplete and full of omissions.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 07:24, 10 November 2021 (UTC)
This point can be seen almost everywhere, so I don't want to give an example.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 05:25, 12 November 2021 (UTC)

==张秋怡 Zhāng Qiūyí 亚非语言文学女 202120081550==
不过我可以向读者负责地保证：如果你是出于欣赏的目的阅读《红楼梦》，那么选择“程乙本”将是最明智的。三、校勘问题我们说“程乙本”为《红楼梦》的最佳版本，并不是说它完美无缺，也不是说其他版本一概不如“程乙本”，只是说它在总体上更胜一筹而已。
But I can responsibly assure readers that if you are reading a Dream of Red Mansions for enjoyment, cheng Yiben is the wisest choice. To say that Cheng Yiben is the best version of a Dream of Red Mansions does not mean that it is perfect, nor that all other versions are inferior to Cheng Yiben, but that it is superior in general.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 05:23, 12 November 2021 (UTC)

But I can responsibly assure readers that if you are reading ''A Dream of Red Mansions'' for enjoyment, Cheng Yi version is the wisest choice. Three: Revision. To say that Cheng Yi version is the best version of ''A Dream of Red Mansions'' does not mean that it is perfect, nor that all other versions are inferior to Cheng Yi version, but that it is superior in general.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 13:42, 16 November 2021 (UTC)

==张扬 Zhāng Yáng 国别男 202120081551==
事实上，或因高鹗和程伟元的疏忽，或因排字工人的失误，致使“程乙本”仍存在不少“纰缪”。譬如：第八十六回说贾元春生于“甲申年正月丙寅”；至第九十五回则说：“是年甲寅年十二月十八日立春，元妃薨日是十二月十九日，已交卯年寅月，存年四十三岁。”“程甲本”和“程乙本”都是如此。

In fact, due to the negligence of Gao'e and Cheng Weiyuan, or the mistakes made by typesetters, there are still many "mistakes" in "Chengyi version". For example, the eighty-sixth chapter expounds that Jia Yuanchun was born in "Bingyin, the first month of the year Jiashen". To the 95th chapter it expounds that "In that year, the spring began on December 18th of the lunar calendar, Jiayin year, and the day consort Yuan died was on December 19, which was in the month of Yin and year of Mao. Hence consort Yuan died at the age of 43.", which are the same both in "Chengjia version" and "Chengyi version".--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 14:17, 8 November 2021 (UTC)

In fact, due to the negligence of Gao'e and Cheng Weiyuan, or the mistakes made by typesetters, there are still many "mistakes" in "Chengyi version". For example, the eighty-sixth chapter expounds that First Spring Merchant was born in "Bingyin, the first month of the year Jiashen". To the 95th chapter it expounds that "In that year, the spring began on December 18th of the lunar calendar, Jiayin year, and the day Princess Merchant died was on December 19, which was in the month of Yin and year of Mao. Hence consort Yuan died at the age of 43.", which are the same both in "Chengjia version" and "Chengyi version".

==张怡然 Zhāng Yírán 俄语语言文学女 202120081552==
而实际上前后存在明显矛盾：甲申年至甲寅年是三十年，按照当时以虚岁计算年龄的习惯，元妃享年应是三十一岁；即使因元妃薨于立春次日，算作乙卯年，也只有三十二岁。无论如何也不会是四十三岁。可见“程甲本”已错，而“程乙本”也没有订正。

In fact,there is clear contradiction:the years from JiaShen to JiaYin are thirty years, and according to the custom of calculating age in terms of nominal age at the time, Princess Merchant would have been thirty-one years old; even if the death of Princess Merchant took place on the day after the first day of spring, which is counted as the year yi Mao, she would have been only thirty-two years old. In any case, it would not have been forty-three years old. It is clear that the "Cheng Jia version" is wrong, and the "Cheng Yi version" has not been revised.

In fact,there is an obvious contradiction:the years from JiaShen to JiaYin are thirty years, and according to the custom of calculating age in terms of nominal age at the time, Princess Yuan would have been thirty-one years old; even if the death of Princess Yuan took place on the day after the first day of spring, which is counted as the year YiMao, she would have been only thirty-two years old. In any case, it would not have been forty-three years old. It is clear that the "Cheng Jia version" is wrong, and the "Cheng Yi version" has not been revised either.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 06:37, 8 November 2021 (UTC)

==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学）女 202120081553==
这个明显的失误，早在1927年由汪原放校点、亚东图书馆出版的“程乙本”《红楼梦》已经改正，而上世纪八十年代以后出版的诸多号称经过了“精校”的“程甲本”和“程乙本”《红楼梦》，包括那些拼凑本，却依旧保留了这个失误，这不能不说是一种讽刺。其实“程乙本”的其他文字失误还有不少，并非像高鹗、程伟元所说“改订无讹”。“程乙本”既非十全十美，而我们要供献于读者的是一部普及本的《红楼梦》，因此有必要汲取其他版本的长处，使其尽量完美。

This obvious mistake was corrected in “Cheng Yi Version" （a version of "A Dream of Red Mansions"） checked by Wang Yuanfang and published by Yadong library as early as 1927. It is ironic that many "Cheng Jia Version" and "Cheng Yi Version" published after the 1980s, including those patchwork books, still retain this mistake. In fact, there are many other word mistakes in "Cheng Yi Version", which is not “absolutely right after revision” as Gao E and Cheng Weiyuan said. "Cheng Yi Version" is not perfect, and what we want to offer to readers is a popular version of “A Dream of Red Mansions.” Therefore, it is necessary to learn from the advantages of other versions to make it as perfect as possible.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 14:22, 7 November 2021 (UTC)

This obvious mistake was corrected in “Cheng Yiben" （a version of "a dream of Red Mansions"） checked by Wang Yuanfang and published by Yadong Library as early as 1927. It is ironic that many "Cheng Jiaben" and "Cheng Yiben", which claimed carefully checked and published after the 1980s , including those patchwork books, still retain this mistake. In fact, there are many other word mistakes in "Cheng Yiben", which is not “absolutely right after revision” as Gao E and Cheng Weiyuan said. "Cheng Yiben" is not perfect, and what we want to offer to readers is a widespread version of “a dream of Red Mansions.” Therefore, it is necessary to learn from the advantages of other versions to make it as perfect as possible.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 02:05, 8 November 2021 (UTC)

==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学）女 202120081554==
为此，本书以“程乙本”(北京图书馆出版社影印本)为底本，以“程甲本”(北京图书馆出版社影印本)为主校本，并以下列版本为参校本：汪原放校勘“程乙本”(上海亚东图书馆刊本)、王希廉(雪香)评“程甲本”(清道光十二年刊本)、“梦稿本”“庚辰本”“己卯本”“甲戌本”(后四种均为上海古籍出版社影印本)。在以上八种版本中，前五种均为一百二十回全本，后三种均为前八十回的残存本。

For this purpose, this book uses “Cheng Yiben”(photocopy of Beijing Library Publishing House) as master copy, “Cheng Jiaben” as main collated edition, and the followings as references—Wang Yuanfang’s collation “Cheng Yiben”(Shanghai Yadong Library edition)、Wang Xilian’s “Cheng Jiaben” commentary(edition in the twelfth year of Qing Daoguang)、“Meng Gaoben”、“Geng Chenben”、“Ji Maoben”、and “Jia Xuben”(the last four all are photocopies of Shanghai Ancient Books Publishing House). In the above eight editions, the first five are all complete editions of 120 chapters, and the last three are all incomplete editions of 80 chapters.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 01:43, 8 November 2021 (UTC)

For this purpose, this book uses “Cheng Yiben”(photocopy of Beijing Library Publishing House) as the master copy, “Cheng Jiaben” as the main collated edition, and the followings as references—Wang Yuanfang’s collation of “Cheng Yiben”(Shanghai Yadong Library edition)、Wang Xilian’s comments on “Cheng Jiaben” (edition in the twelfth year of Qing Daoguang)、“Meng Gaoben”、“Geng Chenben”、“Ji Maoben”、and “Jia Xuben”(the last four all are photocopies of Shanghai Ancient Books Publishing House). In the above eight editions, the first five are all complete editions of 120 chapters, and the last three are all incomplete editions of 80 chapters.--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 05:57, 8 November 2021 (UTC)

==周玖 Zhōu Jiǔ 英语语言文学（英美文学）女 202120081555==
我的校勘总原则是：既要尽量保持底本的原貌，又要保证全书的质量。具体来说则遵循以下几条：（一）底本与校本之间虽有异文，但底本基本可通者，即使校本文字更好，也不作改动。（二）底本中的各种错误(包括内容与文字的错误)、文字倒置、文理不通等，尽量用校本改正，若校本同样错误则径改。

My primary principle of collation is that: maintain the original meaning of master copy, and garantee the quality through the book. Specifically, abiding by the following advice: One, although there are differences between the master copy and the checked copy, the former whose meaning is basically faithful and smooth remains untouched, even though the checked copy is better. Two: various mistakes in master copy（including errors in contents and text），the inversion of words, unsmooth words and contents and so forth should be corrected based on master copy. But if mistakes are also existed in the master copy, then it should be corrected directly.--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 12:43, 7 November 2021 (UTC)

My primary principle of collation is that: maintain the original meaning of master copy, and guarantee the book’s quality. To be more specific, following these advices: First, although there are differences between the master copy and the checked copy, the former whose meaning is basically faithful and smooth should be untouched, even though the checked copy is better. Second: various mistakes in master copy（including errors in contents and text), like the inversion of words, unsmooth words and contents and so forth should be corrected based on master copy. But if mistakes are also existed in the master copy, it should be corrected directly.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 06:46, 8 November 2021 (UTC)

==周俊辉 Zhōu Jùnhuī 法语语言文学女 202120081556==
（三）底本和校本中的僻字、怪字、俗字，本来并无特别意义，毫无保留价值，只能为读者增加阅读障碍，因此径改为通用字。如“揌”和“”改为“塞”，“嘴”改为“努嘴”，“椅子”改为“拿椅子”，等等。（四）古人对别字多不在乎，故底本和校本中屡见不鲜，但在当今的读者看来却十分别扭，甚至可能被误解，因而酌情径改。

Three, the rare words, strange words, common words in the master copy and in the checked copy had no special meaning, and no reservation value, can only increase the reading barrier for readers. So they need to be changed to universal words. Such as "揌" changed to “塞", "嘴" changed to "努嘴", "椅子" changed to "拿椅子", etc. Four, the ancients didn’t care about the wrongly written characters, so it is common in the master copy and the checked copy. They seem very awkward for today's readers and may even be misunderstood. Therefore they should be appropriately modified.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 14:12, 6 November 2021 (UTC)

（3）Some characters in a copy for the record or for reproduction and in checked copy, which are not commonly used, or look strange, or are popular but irregular, have no special significance and no reserved value, only increasing the reading barrier for readers. Therefore, these characters are changed to universal characters. For example, "揌" are changed to "塞", "嘴" is changed to "努嘴", "椅子" is changed to "拿椅子" and so on.（4） The ancients didn't care much about the wrongly written characters, so they can be commonly seen in a copy for the record or for reproduction and in checked copy. However, when seeing these characters, today’s readers may feel awkward, and may even misunderstand their meanings. Thus they are supposed to be changed for appropriateness.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 12:37, 7 November 2021 (UTC)

==周巧 Zhōu Qiǎo 英语语言文学（语言学）女 202120081557==
如“必真”改为“逼真”，“奈烦”改为“耐烦”，“悔气”改为“晦气”，“渥”改为“焐”，“握”改为“捂”，等等。（五）有些字在古代汉语中可以通用（借用），在现代汉语中却严加区分。《红楼梦》也存在大量借用字，如果一一加以改动，不一定合适。

For example, "必真" is changed to "逼真", "奈烦" is changed to "耐烦", "悔气" is changed to "晦气", "渥" is changed to "握 ", "焐" is changed to "捂" and so on. Some words can be commonly used (borrowed) in ancient Chinese, While in modern Chinese they are strictly distinguished. There are also a large number of loanwords in the A Dream of Red Mansions, which may not be appropriate if changed one by one.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:06, 6 November 2021 (UTC)

For instance, "必真" is changed to "逼真", "奈烦" is changed to "耐烦", "悔气" is changed to "晦气","渥" is changed to "握 ", "焐" is changed to "捂", etc. Wait. Some characters can be used (borrowed) in ancient Chinese, but they are strictly distinguished in modern Chinese. There are also a lot of borrowed words in "A Dream of Red Mansions". If you change them one by one, it may not be appropriate.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 11:44, 10 November 2021 (UTC)

==周清 Zhōu Qīng 法语语言文学女 202120081558==
因此只有在以下两种情况之下才作改动：一是可能引起误解；二是同一词语而用字不同。如等同于数字“一”的“么”，极易与“什么”、“怎么”的“么”相混，故改为“幺”。又如表示时间的“一会”和“一回”混用，“一会儿”和“一回儿”混用，统一为“一会”和“一会儿”；表示位置的“旁”和“傍”混用，“旁边”和“傍边”混用，统一为“旁”和“旁边”；“赔礼”和“陪礼”混用，“赔罪”和“陪罪”混用，统一为“赔礼”和“赔罪”；等等。

Therefore, changes should only be made in the following two situations: one is that it may cause misunderstanding; the other is the same phrase but different words. For example, the "么" equivalent to the number "一" is easily confused with the "么" of "什么" and "怎么", so it is changed to "幺". Another example is the mixed use of "一会" and "一回" for time, and "一会儿" and "一回儿" are mixed together, unified into "一会" and "一会儿";"旁" and "傍" to indicate position are mixed together, "旁边" and "傍边" are mixed together, unified into "旁" and "旁边"; "赔礼" and "陪礼" are mixed together, and "赔罪" and "陪罪" are mixed together , Unified into "赔礼" and "赔罪"; and so on.

Therefore, changes should only be made in the following two situations: one is that it may cause misunderstanding; the other is the same phrase formed by different words. For example, the "么" equivalent to the number "一" is easily confused with the "么" of "什么" and "怎么", so it is changed to "幺". Another example is the mixed use of "一会" and "一回" for time, and in case that "一会儿" and "一回儿" are mixed together, they are unified into "一会" and "一会儿"respectively ;"旁" and "傍" to indicating position are mixed together,and "旁边" and "傍边" are mixed together, so they are unified into "旁" and "旁边"; "赔礼" and "陪礼" are mixed together, and "赔罪" and "陪罪" are mixed together , so they are unified into "赔礼" and "赔罪"etc.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 09:49, 13 November 2021 (UTC)

==周小雪 Zhōu Xiǎoxuě 日语语言文学女 202120081559==
（六）本书采用简化汉字，为异体字的处理提供了方便，故一律按照简化汉字的规定处理。任何语言都在不断发展变化，故古今汉语有很大不同，以至于定字工作成为古籍整理中最为复杂的问题之一，很难做到尽善尽美。仅根据以上几条，只能是有助于减少读者的阅读障碍罢了。

(Six) Simplified Chinese characters are used in this book to provide convenience for the processing of variant characters. Therefore, they are processed in accordance with the provisions of simplified Chinese characters . Any language is constantly changing, so ancient and modern Chinese is very different. Therefore, deciding which word to use has become one of the most complex problems in the collection of ancient books, which is difficult to be perfect. Just according to the above, it can only help reduce the difficulties in their reading.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 13:59, 8 November 2021 (UTC)

Simplified Chinese characters are used in this book to provide convenience for the processing of the variant characters. Therefore, they are processed in accordance with the provisions of simplified Chinese characters . Any language is constantly changing, so great differences exist between ancient and modern Chinese. Therefore, deciding which word to use has become one of the most complex issues in the collection of ancient books, which is difficult to be perfect.According to the above, it can only help reduce the difficulties in readers' reading.--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 15:23, 30 December 2021 (UTC)

==朱素珍 Zhū Sùzhēn 英语语言文学（语言学）女 202120081561==
为了节省篇幅，一律不出校文。四、注释问题 “注释”亦称“注解”，最初是由于经书文字艰涩难懂，故对经书的字句加以解释；如果注文仍旧难懂或未尽其义，再对注文加以解释，则称“疏”。注文和疏文合称则谓之“注疏”。

In order to save space, no proofread article will be published. Fourth,issues "explanatory note" is also called "annotation". At first, it explained the words and sentences of the Scriptures because the texts of the scriptures were difficult to understand; if the annotations were still difficult to understand or did not fully understand the meaning, then the annotations will be explained, it was called " sparse". The combination of Zhuwen and Shuwen is called "Notes and Shu".

In order to save space, no proofreading will be published. 4、 Annotation question "Annotation" is also called "Annotation".At first, the words in the Scriptures were difficult to understand,therefore, explain the words and sentences in the scriptures; If the annotation is still difficult to understand or does not fulfill its meaning, and then explain the annotation, it is called "sparse"--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 09:11, 30 December 2021 (UTC)

==邹岳丽 Zōu Yuèlì 日语语言文学女 202120081562==
后来逐步扩大范围，对一切文献中的疑难字句加以解释，均称之为“注释”。由于中国历史悠久，古今汉语及名物变化巨大，致使后人读古籍的困难越来越大，因此对古籍的注释也就显得越来越有必要。《红楼梦》虽是一部旧白话小说，但它汲取了诗、词、曲、赋、歌、诔等各种精华，又涉及谜语、酒令、建筑、服饰、珍禽异兽、奇花异卉、神话传说、名人秀女、琴棋书画、医卜星相、风俗礼仪等多种知识，白话文言间用，成语典故成堆。

Later, the scope was gradually expanded to explain the difficult words and sentences in all documents, which were called "notes". Due to China's long history and great changes in ancient and modern Chinese ,which makes it more and more difficult for future generations to read ancient books. Therefore, it is more and more necessary to annotate ancient books. Although 《The Dream of Red Mansion》 is an old vernacular novel,but it has absorbed all kinds of essences such as poetry, CI, Qu, Fu, song, and so on.It also involves riddles, wine orders, architecture, clothing, rare birds and animals, exotic flowers
Myths and Myths and legends, celebrities and beauties, Qin, chess, calligraphy and painting, medical divination of stars, customs and etiquette and other knowledge are used between vernacular and Idioms and allusions pile up.

==Nadia 202011080004==
对于一般读者来说，所有这些都可能是阅读中的绊脚石。

==Mahzad Heydarian 玛莎 202021080004==
本注释的使命就是为读者清除这些绊脚石，使阅读畅通无阻。

This annotation is meant to remove the barriers in reading and make it easier to read.

==Mariam toure 2020GBJ002301==
因此凡是我认为可能影响读者阅读的地方，便予以注释，决不假装视而不见，决不避难就易。

==Rouabah Soumaya 202121080001==
为了节省篇幅，我仅举一例。第五十六回“敏探春兴利除宿弊，贤宝钗小惠全大体”中，有贾探春与薛宝钗谈论经济的一段话：
In order to save space, I will give just one example. In the fifty-sixth chapter, "Min Tanchun prospering the benefits and eliminating the disadvantages, Xian Baochai and Xiaohui are all in general", there is a passage between Jia Tanchun and Xue Baochai discussing the economy:

==Muhammad Numan 202121080002==
宝钗笑道：“真真膏粱纨袴之谈。你们虽是千金，原不知道这些事。
Baochai smiled and said: "It's really tempting to talk about it. Although you--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 14:09, 6 November 2021 (UTC) are a daughter, you don't know these things.

==Muhammad Saqib Mehran 202121080004==
但只你们也都念过书，识过字的，竟没看见过朱夫子有一篇《不自弃文》么？”
But if you have all studied and read, haven't you seen Master Zhu's article "Don't Abandon Oneself"?

==Jawad Ahmad 202121080006==
探春笑道：“虽也看过，不过是勉人自励，虚比浮词，那里真是有的？”
Tanchun said and smile, "Although I have seen it, it's just a matter of encouraging others to encourage themselves. It's a meaningless word. Is there really something happen?"

==Nizam Uddin 202121080007==
宝钗道：“朱子都行了虚比浮词了？那句句都是有的。

==Öncü 202121080008==
你才办了两天事，就利欲熏心，把朱子都看虚浮了。
You have been working on it for two days only, and blinded by greed, you have made ZhuZi look vain.--[[User:HIKMET ONCU KADIOGLU|HIKMET ONCU KADIOGLU]] ([[User talk:HIKMET ONCU KADIOGLU|talk]]) 16:52, 6 November 2021 (UTC)

You have only been doing things for two days, then you desire for money and profit fascinated the heart, and you think Zhu Zi is Unrealistic. --[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 09:29, 8 November 2021 (UTC)Akira Jantarat

==Akira Jantarat 202121080009==
你再出去，见了那些利弊大事，越发连孔子也都看虚了呢！”

If you go to a larger world and see greater benefits or disadvantages, I am afraid you will be a little bit down on what Kongzi said.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 14:19, 6 November 2021 (UTC)Akira

If you go out again and see the pros and cons of major events, you will be even more deceptive!--[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:50, 7 November 2021 (UTC)

==Asep Budiman 202111080020==
探春笑道：“你这样一个通人，竟没看见《姬子》书？

Tan-tschun Smiled and said "you are such a familiar person, but have you read the "Ji Zi" book?--[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:41, 7 November 2021 (UTC)

Tan-tschun smiled and said: "You are such a familiar person, but haven't you read the book "Ji Zi"? --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 10:57, 7 November 2021 (UTC)Ei Mon Kyaw -Ei Mon Kyaw-[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 10:57, 7 November 2021 (UTC)

==Ei Mon Kyaw 202111080021==
当日《姬子》有云：‘登利禄之场，处运筹之界者，穷尧舜之词，背孔孟之道。’”

On that day, "Jizi" said: ‘The field of Deng Lilu, those who are in the realm of management, are poor in the words of Yao and Shun, and recite the way of Confucius and Mencius. ’"
--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 13:52, 6 November 2021 (UTC)EI MON KYAW
-EI MON KYAW-[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 13:52, 6 November 2021 (UTC)

There was a saying in ''Himeko'' that day: "Deng LiLu, and those who operate in this realm, steal the words of Yao and Shun, and memorize Confucianism."--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:38, 7 November 2021 (UTC)

==Benjamin Wellsand 202111080118==
宝钗笑道：“底下三句呢？”探春笑道：“如今断章取义，念出底下一句，我自己骂我自己不成？”

Bau-tschai smiled: "What about the next three sentences?" Tan-tschun smiled: "Now that I have read the next sentence out of context, can I blame myself for failing?"--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:39, 7 November 2021 (UTC)

Translation: Bau-tschai smiled: "What about the next three sentences?" Tan-tschun smiled: "Now I take the next sentence out of context, and if I read the next sentence out of context, I can't blame myself?"--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 11:20, 7 November 2021 (UTC)

==Atta Ur Rahman 202121080003==
在这段话中，提到了朱熹的《不自弃文》，还有《姬子》一书。

Translation: In this passage, Zhu Xi's "don't abandoned the text--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 14:13, 6 November 2021 (UTC)--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 14:13, 6 November 2021 (UTC)" and the book "Ji Zi" are mentioned.

==Zohaib Chand 202121080005==
我所看到的几个《红楼梦》注本，对《不自弃文》有所注释，而对《姬子》却避而不注。

I have read different annotations of ''A Dream in Red Mansions'', in which there are some explaination to ''No Self-surrender'' while no notes to ''Jizi''.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 08:21, 30 December 2021 (UTC)

20211110 homework

2021-12-30T15:20:08Z

Zhu Suzhen: /* 朱素珍 Zhū Sùzhēn 英语语言文学（语言学）女 202120081561 */

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]] [[20211110_homework|for Nov 10 - HLM Chapters 20-21]] etc.

==陈静 Chén Jìng 国别女 202020080595==
按语：拙著《红楼梦全解本》出版后，受到了不少专家与读者的好评，甚为欣慰。但也有读者认为，如果能删掉部分注文，既不影响读者阅读，也可节省书的成本，使更多读者买得起。

Note : After the publication of ''The Dream of Red Mansions(The Anotation Version)'', it was highly appreciated by many experts and readers. However, some readers believe that if some notes can be deleted, it will not affect readers ' reading and save the cost of the publication, so that more readers can afford it.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 10:02, 9 November 2021 (UTC)

Note: after my book the complete interpretation of Drdam Of Red Chamber was published, it was highly praised by many experts and readers. However, some readers believe that if some annotations can be deleted, it will not affect readers' reading, but also save the cost of the book and make it affordable for more readers.
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 11:53, 9 November 2021 (UTC)

==蔡珠凤 Cài Zhūfèng 日语语言文学女 202120081477==
恰好中央编译出版社准备出版四大古典小说套书，为了平衡四部小说的注文，《红楼梦》的注文也嫌太长。因此接受读者的建议，将《红楼梦全解本》的注文删掉了差不多一半，其他一概未动；换言之，此版《红楼梦》校注本，实即《红楼梦全解本》的删节本（仅删注文）。因此《校注前言》仍用《红楼梦全解本》的《校注前言》，不再另写。

It happened that the Central Compilation and Translation Publishing House was preparing to publish four sets of classical novels. In order to balance the annotations of the four novels, the annotations of Dream Of the Red Chamber were too long. Therefore, we accepted the readers' suggestions and deleted almost half of the annotations in the complete interpretation of Dream Of Red Chamber, and the rest remained unchanged; In other words, the revised annotation version of Dream Of Red Chamber is actually an abridged version of the complete interpretation of Dream Of Red Chamber (only the annotation is deleted). Therefore, the preface to proofreading still uses the preface to proofreading of the complete interpretation of Dream Of Red Chamber, and needn’t be written again.
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 06:36, 8 November 2021 (UTC)

It happened that the Central Compilation and Translation Publishing House was preparing to publish four sets of classical novels. In order to balance the annotations of the four novels, the annotations of ''The Dream of the Red Chamber'' were too long. Therefore, we accepted the readers' suggestions and deleted almost half of the annotations in the complete interpretation of ''The Dream of Red Chamber'', and the rest remained unchanged; In other words, the revised annotation version of ''The Dream of Red Chamber'' is actually an abridged version of the complete interpretation of ''The Dream of Red Chamber'' (only the annotation is deleted). Therefore, ''The Preface to Proofreading'' still uses ''The Preface to Proofreading'' of the complete interpretation of ''Dream Of Red Chamber'', and needn’t be written again.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 14:32, 8 November 2021 (UTC)Chen Huini

==陈惠妮 Chén Huìnī 英语语言文学（英美文学）女 202120081479==
《红楼梦》以其包罗万象的内容，博大精深的思想，精湛完美的艺术，丰富生动的语言，尤其是众多栩栩如生的人物形象，不仅在中国小说史上奇峰独秀，而且在世界文学之林独树一帜。它是我国文化遗产中的珍品，值得每一个中国人所珍视。《红楼梦》在其尚未完稿的时候，已经被人竞相传抄，辗转传阅，不胫而走，蜚声神州。

''A Dream of Red Mansions'' is unique not only in the history of Chinese novels, but also in the world literature with its comprehensive contents, extensive and profound thoughts, exquisite and perfect art, rich and vivid language, and especially its numerous vivid characters. It is a treasure of our country's cultural heritage and is worth cherishing by every Chinese. ''A Dream of Red Mansions'' has been copied, circulated and spread like wildfire even when it's unfinished. It is really well-known in China.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 14:23, 8 November 2021 (UTC)Chen Huini

''A Dream of Red Mansions'' is outstanding not only in the history of Chinese novels, but also in the world literature for its comprehensive contents, extensive and profound thoughts, exquisite and perfect art, rich and vivid language, and especially its numerous vivid characters. It is a treasure of our country's cultural heritage and is worth being cherished by every Chinese.Before it is finished， ''A Dream of Red Mansions'' has been copied, circulated and spread like wildfire and it is really well-known in China.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 00:25, 10 November 2021 (UTC)

==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学女 202120081480 ==
不仅“士大夫几乎家有《红楼梦》一书”（清·潘炤《从心录》卷首），而且“家弦户诵，妇孺皆知”（清·缪艮《文章游戏初编》卷六）。上层社会更出现了“开谈不说《红楼梦》，读尽诗书也枉然”（清·得舆《京都竹枝词·时尚门》）的时尚。《红楼梦》的魅力也使其商业价值大增，“好事者每传抄一部，置庙市中，昂其值，得数十金，可谓不胫而走者矣”（清·程伟元《〈红楼梦〉序》）。

''A Dream of Red Mansions'' was so popular that not only scholar officals（people obtain knowledge and wealth in feudal China） read it （the first volum of ''Essay'' by Pan Zhao, Qing），but also families，even women and children ， loved it（the sixth volum of ''Preliminary Article Games'' by Miu Liang, Qing）. Moreover ,there was a climate of ''A Dream of Red Mansions'' that the upper class believed " it is useless to read great books without ''A Dream of Red Mansions''.（''Bamboo Pole Poem in the Capital'' by De Yu, Qing）. The charm of ''A Dream of Red Mansions'' also rose its business value as in record： “Someone who is willing to copy ''A Dream of Red Mansions'' and sell it can raise 10 gold ingots everytime ，and everyone know it.（ the introduction of ''A Dream of Red Mansions'', Qing）.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 09:44, 7 November 2021 (UTC)

Not only did "almost every scholar had a copy of ''A Dream of Red Mansions''" (the first volum of Essay by Pan Zhao, Qing Dynasty), but "Every household recited it, and all women and children knew it" (the sixth volum of ''Preliminary Article Games'' by Miu Liang, Qing Dynasty). In the upper class, the fashion of "If you don't talk about ''A Dream of Red Mansions'', you can read all the poems and books in vain" (''Bamboo Pole Poem in the Capital'' by De Yu, Qing Dynasty) emerged. The charm of A Dream of Red Mansions also made its commercial value increased greatly, "Those who are interested in it can get a lot of money by copying one of the books and selling it in the market. The information spread quickly." (the introduction of ''A Dream of Red Mansions'', Qing Dynasty)--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 07:07, 8 November 2021 (UTC)

==陈心怡 Chén Xīnyí 翻译学女 202120081481==
至高鹗续写后四十回、由程伟元以活字正式出版完整的一百二十回本后，更出现了风行全国的盛况。时至今日，即使读不懂《红楼梦》的人，也都看过《红楼梦》电影或电视剧，对《红楼梦》的故事和人物无不耳熟能详。因此《红楼梦》已经不是普通的小说，而成为全民珍视的国宝了。

After Gao E continued to write the second forty chapters and Cheng Weiyuan officially published the complete one hundred and twenty chapters in movable type, the book became popular nationwide. To this day, even those who do not understand ''A Dream of Red Mansions'' have seen the movie or TV series versions, and are familiar with the story and characters of ''A Dream of Red Mansions''. Therefore, ''A Dream of Red Mansions'' is no longer an ordinary novel, but a national treasure cherished by all.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 06:39, 8 November 2021 (UTC)
After Gao E continued to write the following forty chapters and Cheng Weiyuan officially published the complete one hundred and twenty chapters in movable type, the book became popular nationwide increasingly. To this day, even those who do not understand ''A Dream of Red Mansions'' have already seen the movie or TV series versions, and are familiar with the story and characters of it. Therefore, ''A Dream of Red Mansions'' is no longer an ordinary novel, but a national treasure cherished by all.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 08:37, 10 November 2021 (UTC)

==程杨 Chéng Yáng 英语语言文学（英美文学）女 202120081482==
中国古代的文人墨客、传统学者、官僚士夫，无不鄙薄小说，最多被视为茶余饭后的谈资。唯独对《红楼梦》情有独钟，爱不释手。不仅百读不厌，而且像拜读经书般寻章摘句，眉批夹评，乐此不疲。
The ancient Chinese literats, traditional scholars, bureaucrats, all despised novels, and regarded them as after-dinner talk at most. But they only showed special preference to ''The Dream of Red Mansions'', and fondled admiringly. They not only tired of reading it, but also liked reading the Confucian classics as seeking remarkable passages and culling model sentences, making notes and commentaries, and always enjoying it.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 08:33, 10 November 2021 (UTC)

The ancient Chinese literats, traditional scholars, bureaucrats, all despised novels, and regarded them as after-dinner talks at most. However, they only showed special preference to ''The Dream of Red Mansions'', and fondled admiringly. They not only weren't tired of reading it, but also liked reading the Confucian classics as seeking remarkable passages and culling model sentences, making notes and commentaries, and always enjoying it.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 14:07, 12 November 2021 (UTC)

==丁旋 Dīng Xuán 英语语言文学（英美文学）女 202120081483==
久而久之，居然形成了“红学”。“红学”由起初对《红楼梦》的单纯评点，逐步发展成为对《红楼梦》及其作者的全面考证与研究，最后更成立了红学会，出版研究刊物，势头似乎越来越盛。这不仅是中国小说史上绝无仅有的，也是中国文学史上极其罕见的现象。

As time passes, redology is actually formed. Redology was about pure comments to ''A Dream in Red Mansion'' in the beginning and it gradually developed as the comprehensive textual research and study in ''A Dream in Red Mansion'' and its author. Finally, we even established redologist institution and published research periodicals, the momentum of redology more and more flourishing. This phenomenon is not only unique in the history of Chinese novels, but extremely rare in the history of Chinese literature. --[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 05:29, 9 November 2021 (UTC)

As time passes, redology is unexpectedly formed. Redology came into mere comments to ''A Dream in Red Mansion'' in the beginning and it gradually developed as the comprehensive textual research and study of this work and its author. Finally, redologist institution was established to publish research periodicals with more flourishing tendency than ever. This phenomenon is not only unique in the history of Chinese novels, but extremely rare in the history of Chinese literature.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 11:49, 10 November 2021 (UTC)

==杜莉娜 Dù Lìnà 英语语言文学（语言学）女 202120081484==
遗憾的是，“红学家”们对《红楼梦》的作者及其版本似乎偏爱有加，而对《红楼梦》的思想和艺术价值却缺乏足够的兴趣，因此考证作者和版本的文章和著作连篇累牍，而研究《红楼梦》思想和艺术价值的成果却寥若晨星。我认为这是本末倒置。一个作家的价值不在于其生平如何，而在于其作品的思想和艺术水平的高低；是作品决定作家的价值，而不是作家决定作品的价值。

Unfortunately, redologists ( who are specialists in A Dream of the Red Chamber) seemingly are partial to research on the writer and verison of this book, but are short of interest for it's thought and artistic value. And therefore there are a lot of articles and books about the former while very few about the latter. It seems to me that puts the cart before the horse. What a writer is worth lies in thoughts and artistic level in his/her works but not in his/her life story; and the value of a writer depends on his/her production, not vice versa.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 13:31, 6 November 2021 (UTC)

Unfortunately, redologists ( who are specialists in A Dream of the Red Chamber) seem to prefer to research on the writer and versions of this book, but are short of interest in the thought and artistic value. And therefore there are a lot of articles and books about the former while very few about the latter. It seems to me that puts the cart before the horse. What a writer is worth lies in thoughts and artistic level in his/her works but not in his/her life story; and the value of a writer depends on his/her production, not vice versa.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 14:10, 9 November 2021 (UTC)

==付红岩 Fù Hóngyán 英语语言文学（英美文学）女 202120081485==
读者对于作品的选择与评价，也只着眼于作品本身，而非作家本人。一部伟大的作品，即使作者佚名，也不影响其伟大，照样受到读者的追捧；相反，如果一个伟大作家偶然写了一部低劣的作品，读者也决不买账。因此“红学”的研究重点应该是《红楼梦》本身，而不是《红楼梦》作者。

Readers' choice and evaluation towards works is based on the works themselves, rather than the writers. As anonymous is the writer, the valued of a great work is definitely unlikely to be underestimated, which is still welcomed by the public. Likewise, readers cannot be attracted by the inferior work written by a great writer. Therefore, redology is supposed to focus on the context, instead of the writer Cao Xueqin--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 14:01, 9 November 2021 (UTC)

Readers' choice and evaluation towards works is based on the works themselves, rather than the writers. As anonymous is the writer, the values of a great work are definitely unlikely to be underestimated, which is still popular with the public. Likewise, readers cannot be attracted by a low-quality work even written by a great writer occasionally. Therefore, redology is supposed to focus on the context, instead of the writer Cao Xueqin.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 09:02, 10 November 2021 (UTC)

==付诗雨 Fù Shīyǔ 日语语言文学女 202120081486==
当然也应该了解作者，但目的只是为了有助于深入了解《红楼梦》，仅此而已。我认为要想深入研究《红楼梦》，首先必须完全读懂《红楼梦》。如果对《红楼梦》的文本只是一知半解，那么所谓研究，势必如医生不明病人的病情而乱开药方，不仅治不好病，倒可能致人于死命。

Certainly, we should also know the author, but the purpose is nothing more than to help us understand ''A Dream of Red Chamber'' in depth. I think that in order to make a further research on ''A Dream of the Red Chamber'', we must first have a thorough understanding of it. If we have only a sketchy knowledge of the text of ''A Dream of Red Chamber'', then the so-called research would definitely be like the prescriptions prescribed indiscriminately without knowing the patient's condition. Not only can it not cure the disease, but it may lead to death.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 13:53, 6 November 2021 (UTC)

Certainly, we should also know about the author, but only with the purpose of deepening our understanding of the work. I think that further researches on ''A Dream of Red Mansions'' necessitate a thorough understanding of it. If we have only a sketchy knowledge of the text of ''A Dream of Red Mansions'', then the so-called research would definitely be like the prescriptions written indiscriminately by a doctor unaware of the patient's condition. Not only can it not cure the disease, but it may lead to death. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 03:04, 7 November 2021 (UTC)

==高蜜 Gāo Mì 翻译学女 202120081487==
《红楼梦》研究中的许多无谓争论，正是研究者没有读懂《红楼梦》或对《红楼梦》文本的不同理解所致。因此对《红楼梦》文本的注释，显然是《红楼梦》研究的基础工作。其次，当今的读者和观众虽然热衷于《红楼梦》，但真正能够全面深入理解《红楼梦》的人恐怕并不很多。

A great many arguments regarding the study of ''A Dream of Red Mansions'', caused either by an incomplete understanding or different understandings of the text, are pointless. Therefore, it's apparent that annotating ''A Dream of Red Mansions'' is a foundation work for its further study. Besides, though today's readers and audience are crazy about the book, I'm afraid that not many of them get to know it thoroughly. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 03:09, 7 November 2021 (UTC)

Many unnecessary arguments in the study of ''A Dream of Red Mansions'' are caused by the researchers' failure to understand ''A dream of Red Mansions'' or their different understandings of the text.Therefore, it's apparent that annotating ''A Dream of Red Mansions'' is a foundation work for its further study. Besides, though today's readers and audience are crazy about the book, I'm afraid that not many of them get to know it thoroughly.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 11:14, 13 November 2021 (UTC)

==宫博雅 Gōng Bóyǎ 俄语语言文学女 202120081488==
这是因为，《红楼梦》不是普通的白话小说，不是简单地为读者讲故事，不是为读者提供茶馀饭后的谈资，更不是为了赚稿费餬口（那时根本不存在稿费制度）。它不仅是一部反映封建社会的“百科全书”，而且作者还对人类共同关心的一些问题，如人生的目的、人性的善恶、爱情的真谛、宗教的精义等进行了探索。作品涉及的内容几乎无所不包，从至高无上的皇帝，到“芥豆之微”的细民，从国家的政治、军事、经济到百姓的日常生活，举凡天文、地理、动物、植物、建筑、服饰、医卜星相、琴棋书画等等，无不尽收笔底。

This is because ''A Dream of Red Mansions'' is not an ordinary vernacular novel. It is not simply a story for readers to read, not a topic for after-dinner conversation, or a way to earn a living (there was no contribution fee system at that time). It is not only an "encyclopedia" reflecting the feudal society, but also explores some common issues of human concern, such as the purpose of life, the good and evil of human nature, the true meaning of love, the essence of religion and so on. The works cover almost everything, from the supreme emperor to the ordinary people, from national politics, military affairs, economy to the daily life of the people, including astronomy, geography, animals, plants, architecture, clothing, medicine, astrology and practise divination, poetry and painting and so on, they're all in the book.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 13:47, 6 November 2021 (UTC)

It is because ''Dream of the Red Chamber'' is neither an ordinary novel in vernacular Chinese, nor a simple narrative or gossip for readers. The author wrote it not for remuneration for the system of remuneration for writters did not exist at that time. It is not only an "encyclopedia" reflecting the feudal society, but also an exploration of some issues of common concern to mankind, such as the purpose of life, the good and evil of human nature, the true meaning of love, and the essence of religion. It covers almost everything, from the supreme emperor to the plebeian as tiny as reed, and from the politics, military and economy of the country to the daily life of the people. It includes astronomy, geography, animals, plants, architecture, costumes, medicine, astrology, zither, chess, calligraphy and painting, and so on. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 11:48, 10 November 2021 (UTC)

==何芩 Hé Qín 翻译学女 202120081489==
作者还调动了自己的全部才能和知识，汲取了前人的成果，撰写并引用了大量诗、词、曲、赋、歌、诔、谜语、酒令等，作为描写人物、叙述故事、揭示主题的艺术手段，从而成为作品的重要组成部分。这其中蕴藏着许多成语、典故和各种知识，现在的一般读者是很难读懂的。此外，由于曹雪芹以其家事为《红楼梦》的蓝本，且暴露了不少家丑，如秦可卿的淫荡乱伦等，因而大量采用了《春秋》笔法，即作者所谓将“真事隐去”，以“假语村言”的曲折方式进行暗示或隐寓，致使《红楼梦》扑朔迷离，迷雾重重。

The author also mobilized all his talents and knowledge and drew on the achievements of his predecessors, writing and quoting a large number of poems, lyrics, songs, eulogies, riddles and wine wager as artistic methods to describe characters, narrate stories and reveal themes, thus becoming an important part of the work. This contains many idioms, allusions and various kinds of knowledge that are difficult for the average readers to comprehend nowadays. In addition, Cao Xueqin used his family affairs as the blueprint for Dream of the Red Chamber and exposed many family scandals, such as Frivolity Grain's lewdness and incest. Cao, thus, adopted much of a writing style of ''Spring and Autumn Annals'', that is, the author's so-called "real things concealed", in the twisted way of "false words and village gossips", which has led to the ''Dream of the Red Chamber'' being puzzling and foggy.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 12:28, 10 November 2021 (UTC)

The author also mobilized all his talents and knowledge and took results from his predecessors, writing and quoting a large number of poems, lyrics, songs, eulogies, riddles and wine wager as artistic methods to describe characters, narrate stories and reveal themes, thus becoming an important part of the work. The novel contains many idioms, allusions and various kinds of knowledge that are difficult for the average readers to comprehend nowadays. In addition, Cao Xueqin used his family affairs as the blueprint for ''A Dream in Red Mansions'' and exposed many family scandals, such as Qin Keqing's lewdness and incest. Cao, thus, frequently adopted a writing style of Spring and Autumn Annals, that is, the author's so-called "real things concealed", using the twisted way of "false words and village gossips" to hint and make it metaphorical which has led to ''A Dream in Red Mansions'' being puzzling and foggy.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 08:35, 14 November 2021 (UTC)

==胡舒情 Hú Shūqíng 英语语言文学（语言学）女 202120081490==
因此帮助广大读者读懂《红楼梦》，也是《红楼梦》研究者义不容辞的责任。而要使读者读懂《红楼梦》，只作简单的文字注释不解决问题，必须加以详细注释，将隐藏于《红楼梦》字里行间的寓意一一揭示出来，才能完全展示《红楼梦》的本来面貌。我从学生时代起就期待这种《红楼梦》的详注本出现，一直等了半个世纪，可惜望眼欲穿而不见踪影。

Therefore, it is incumbent on researchers of ''A Dream in Red Mansions'' to help numerous readers understand the novel. For this, problem can’t be solved simply by text annotations. What should do is to add detailed explanatory notes to discover the meanings implied in characters, which can fully show the way the book originally is. I have expected the appearance of this version with detailed annotations since I was a student. I’ve waited for half a century, but it never comes out.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 02:46, 12 November 2021 (UTC)

Therefore, it is our researchers' duty to heip numerous readers understand A Dream in Red Mansions. To do that, simple text annotations are not enough. And detailed explanatory notes are needed to discover its implied meanings, which can fully show its characteristics. Waiting for half century, I have expected the apppearance of this version with detailed annotations since I was a student.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 01:49, 15 November 2021 (UTC)

==黄锦云 Huáng Jǐnyún 英语语言文学（语言学）女 202120081491==
很显然，“红学家”的队伍虽然不断壮大，看来他们对这种注释工作似乎不屑一顾。于是我这个“红学”的门外汉便斗胆一试，结果试出了这个《红楼梦》校注本。我这是“人弃我取”，希望不至于冒犯任何人。

Obviously, the amount of redologists who are sepcalists in A Dream of Red Mansion was increasing. They seemed to pay no attention to annotate that book, but I, as a layman, took a chance and tried to make the annotation of A Dream of Red Mansion. I thought it was an attitude of doing the things others gave up, which would not offend anyone.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 13:52, 7 November 2021 (UTC)

Obviously, the amount of redologists sepcalizing in A Dream of Red Mansion was increasing. They seemed to pay little attention to annotate that book, but I, as a layman, took a chance and tried to make the annotation of A Dream of Red Mansion. I thought it was an attitude of doing things others gave up, which I hope would not offend anyone.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:20, 7 November 2021 (UTC)

==黄逸妍 Huáng Yìyán 外国语言学及应用语言学女 202120081492==
如果能成为“引玉”之“砖”，即使要做“众矢之的”，招来“万箭攒射”，我也决不后悔，因为这也算是我对《红楼梦》读者的小小奉献了。下面仅就与校注工作有关的几个具体问题略作说明。

一、作者问题

If I can serve as a modest spur to induce someone to come forward with his valuable contributions, I will never regret even if I could be the target of public criticism. It is because that the annotation work is also my dedication to the readers of A Dream of Red Mansions. And I will explain a little about the specific questions in proofreading below. 1. The Question of Author--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 12:40, 7 November 2021 (UTC)

If I can become a "brick" for "inviting jade", even if I want to be "a target of all targets" and attract "a thousand arrows", I will never regret it, because this is also a small dedication to the readers of "A Dream of Red Mansions". The following is only a brief description of a few specific issues related to the proofreading work.
1. Author's question--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 11:06, 17 November 2021 (UTC)

==曾俊霖 Zēng Jùnlín 国别男 202120081478==
中国文学史中有两个突出现象：一是在封建时代得意并著名的文人不写小说；二是小说作品多不署名或只署化名。这完全是由封建统治者造成的。封建统治者的文学观是纯粹的政治功利主义，即所谓“文以载道”。

There are two outstanding phenomena in the history of Chinese literature: one is that famous and proud literati in the feudal era do not write novels; the other is that many novels do not sign or only sign pseudonyms. This is entirely caused by the feudal ruler. The feudal ruler’s literary view is pure political utilitarianism, that is, the so-called "writing is used to carry Tao".--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 11:03, 17 November 2021 (UTC)

There are two prominent phenomena in the history of Chinese Literature: first, the proud and famous literati in the feudal era did not write novels; Second, most novels are not signed or only signed by pseudonyms. This was entirely caused by the feudal rulers. The literary view of feudal rulers was pure political utilitarianism, that is, the so-called "literature carries Tao".--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 12:42, 22 November 2021 (UTC)

==黄柱梁 Huáng Zhùliáng 国别男 202120081493==
他们认为小说不仅不能“载道”，而且往往“诲淫诲盗”，对封建统治构成威胁。因此不仅将小说排斥在正统文学之外，甚至常常以“禁毁”的方式加以扫荡。在文网森严及小说地位低贱的环境下，多数文人自然不敢或不屑从事小说的创作；而那些痴迷小说的作者也就不敢或不愿在小说作品上亮出自己的真名实姓。They faithfully believe that novels not only can not "educate citizens of Qing Dynasty", but also often be blessed with "obscenity and theft", which poses a threat to feudal rule.Therefore, novels are not only excluded from orthodox literature, but also often cleaned up in the way of "prohibition and destruction". In the social background of highly strict policy of Literary Network and low status of novels, most scholars naturally dare not or disdain to engage in novel creation; Those who are obsessed with novels are afraid or unwilling to show their real names in their novels.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 02:46, 10 November 2021 (UTC)Huang Zhuliang

They believed that novels not only can not "educate citizens of Qing Dynasty", but also often be blessed with "obscenity and theft", which poses a threat to feudal rule.Therefore, novels are not only excluded from orthodox literature, but also often cleaned up in the way of "prohibition and destruction". In the social background of highly strict policy of Literary Network and of low status of novels, most scholars naturally dare not or disdain to engage in novel creation; Those who are obsessed with novels are afraid or unwilling to sign their real names in their novels.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 13:18, 11 November 2021 (UTC)

==金晓童 Jīn Xiǎotóng 202120081494==
因此研究中国古代小说多了一项工作，即不得不对小说作者加以考证。《红楼梦》也不例外，它的作者连化名都未署一个。“红学家”们为了考证它的作者，不知耗费了多少精力和时间，然而由于史料不足，至今仍然众说纷纭,难以形成共识。

Therefore, there is one more task to study ancient Chinese novels, that is, we have to do textual research on the authors of the novels. ''A Dream of Red Mansions'' is no exception. Its author does not even have a pseudonym. In order to do textual research on its author, the "redologists" spent a lot of energy and time. However, due to the lack of historical data, opinions are still varied and it is difficult to reach a consensus.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 01:57, 6 November 2021 (UTC)
Therefore, there is one more task to study ancient Chinese novels, that is, we have to do textual research on the authors of the novels. ''A Dream of Red Mansions'' is no exception, whose author does not even have a pseudonym. In order to do textual research on its author, the "redologists" spent a lot of energy and time. However, due to the lack of historical data, opinions are still varied and it is difficult to reach a consensus.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 06:39, 15 November 2021 (UTC)

==邝艳丽 Kuàng Yànl 英语语言文学（语言学）女 202120081495==
据我个人所知，至少就有七种说法：其一为“曹作高续”说。即认为曹雪芹写到八十回而去世，并可能留下了后四十回的某些提纲以及部分书稿；高鹗根据曹雪芹的这些提纲、书稿以及前八十回中的许多暗示，还可能参考了其他人的续作，完成了后四十回的创作，并对前八十回加以修订，从而使《红楼梦》成为完璧。
As far as I am concerned, there are at least seven sayings: one of which is that ''Dream of Red Mansions'' was written by Cao Xueqin and then finished by Gao. The saying means that Cao passed away and left some outline and manuscripts of the latter fourth chapters when the former eighty chapters was finished. Then, Gao finished the latter forty chapters and reviewed the former eighty chapters, according to some outlines, manuscripts and clues made by Cao, referring to other sequels. Finally, ''Dream of Red Mansion'' was finished. --[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 06:27, 15 November 2021 (UTC)

As far as I am concerned, there are at least seven sayings: one of which is that ''Dream of Red Mansions'' was written by Cao Xueqin and then finished by Gao. The saying means that Cao had passed away and left some outline and manuscripts of the latter fourth chapters while the former eighty chapters was finished. Then, Gao finished the latter forty chapters and reviewed the former eighty chapters, according to some outlines, manuscripts and clues made by Cao, referring to other sequels. Finally, ''Dream of Red Mansion'' was finished.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 13:04, 15 November 2021 (UTC)

==李爱璇 Lǐ Àixuán 英语语言文学（语言学）女 202120081496==
其二为“曹作程续高订”说。即认为前八十回的作者是曹雪芹，后四十回的作者是程伟元，高鹗只是参加了全书的修订工作。其三为“曹作高续程订”说。即认为前八十回的作者是曹雪芹，后四十回的作者是高鹗，程伟元则对曹雪芹的前八十回加以修订。

The second is the theory of "Cao came to write, Cheng continued to write, Gao to revise". That is, the author of the first 80 chapters is Cao Xueqin, the author of the last 40 chapters is Cheng Weiyuan, and Gao E only participated in the revision of the whole book. The third is the theory of "Cao came to write, Gao continued to write, Cheng to revise". That is, the author of the first 80 chapters is Cao Xueqin, the author of the last 40 chapters is Gao E, and Cheng Weiyuan revised Cao Xueqin's first 80 chapters.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 12:47, 6 November 2021 (UTC)

The second statement said that "Started by Cao, completed by Chen, and revised by Gao". That’s to say, the first 80 chapters were written by Cao Xueqin, the last 40 chapters were written by Cheng Weiyuan, and Gao E only revised the whole book. The third statement said that "Started by Cao, completed by Gao, and revised by Chen". That’s to say, the first 80 chapters were written by Cao Xueqin, the last 40 chapters were written by Gao E, and Cheng Weiyaun made revisions to the first 80 chapters of Cao Xueqin.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 11:56, 10 November 2021 (UTC)

==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学）女 202120081497==
其四为“曹作某续高订”说。即认为在程伟元和高鹗之前，已有人为曹雪芹的未完稿续写完全，程伟元将搜集到的抄本交由高鹗修订，然后刊行。其五为“曹作程高修订”说。

The fourth statement said that “Started by Cao, completed by someone, and revised by Gao”. That's to say, before Cheng Weiyuan and Gao E, there was someone who completed Cao Xueqin's unfinished writing. Then, Cheng Weiyuan collected this hand-copied version and provided it for Gao E to revise, and afterwards ''Dream of the Red Chamber'' was published . The fifth statement said that “Started by Cao, and revised by both Cheng and Gao ”.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 08:08, 10 November 2021 (UTC)

The fourth statement said that "This masterpiece is started by Cao, completed by someone, and revised by Gao". That's to say, before Cheng Weiyuan and Gao E, there was someone who completed Cao Xueqin's unfinished work. Then, Cheng Weiyuan collected these hand-copied drafts and offered them to Gao E to revise, and afterwards ''Dream of the Red Chamber'' was published. The fifth statement noted that "It was started by Cao, and revised by both Cheng and Gao".--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:52, 14 November 2021 (UTC)

==李姗 Lǐ Shān 英语语言文学（英美文学）女 202120081498==
即认为曹雪芹已经完成了《红楼梦》全书，只是未遑修饰而去世，后由程伟元和高鹗共同修订并刊行。其六为“叔作侄订”说。即认为《红楼梦》的原作者是曹雪芹的叔父曹頫，也就是给《红楼梦》加批的“脂砚斋”；曹雪芹只是对它“披阅十载，增删五次”。

It was commonly believed that Cao Xueqin had finished the draft of ''A Dream in Red Mansions'', while as a result of his death it was not polished by himself, but co-revised and published by Cheng Weiyuan an Gao 'E later on. Sixly, rumar had it that this classic was the common product of the uncle and the nephew. That was to say, the original author of that masterpiece was Cao Fu, Cao Xueqin's uncle, who was at the same time the very one that added notes in that masterpiece, and Cao Xueqin just played the role of repeatedly revising it.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:55, 14 November 2021 (UTC)

It was commonly believed that Cao Xueqin had finished the draft of ''A Dream in Red Mansions''. As a result of his death it was not published by himself. However, co-revised and published by Cheng Weiyuan an Gao 'E later on. Rumar had it that this classic was the common product of the uncle and the nephew. Which shows, the original author of that masterpiece was Cao Fu, Cao Xueqin's uncle, who was at the same time the only one who added notes in that masterpiece, and Cao Xueqin just repeatedly revised it.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:35, 6 November 2021 (UTC)
--[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 22:31, 8 November 2021 (UTC)

It was commonly believed that Cao Xueqin had finished the draft of ''A Dream in Red Mansions'', but died before he could polish it. As a result, the draft was co-revised and published by Cheng Weiyuan an Gao 'E later on. The sixth opinion is that this classic is the common product of the uncle and the nephew. That's to say, the original author of that masterpiece was Cao Fu, Cao Xueqin's uncle, who was at the same time the very one that added notes in that masterpiece, and Cao Xueqin just played the role of repeatedly revising it.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 15:35, 14 November 2021 (UTC)

==李双 Lǐ Shuāng 翻译学女 202120081499==
其七为“某作曹订”说。即认为《红楼梦》的原作者是个与曹家毫不相干的无名氏，曹雪芹只是个修订者。“红学家”对《红楼梦》作者的意见分歧，使出版者无所适从，因而造成了新版《红楼梦》署名的混乱：或只署曹雪芹，或并署曹雪芹、高鹗，或干脆不署名。

The seventh opinion is that “a certain author, Cao revised”. That is to say, the original author of ''A Dream in Red Mansions'' is an anonymous person who has no relation with Cao’s family, and Cao Xueqin is only the reviser. The different opinions among the “redologists” about the author of ''A Dream of Red Mansions'' caused the publishers not to know what to do. The new versions are therefore in confusion: some signed Cao Xueqin alone, some signed Cao Xueqin and Gao E together, and some signed nothing at all.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 09:40, 10 November 2021 (UTC)

The seventh opinion is that “a certain author, Cao revised”. That is to say, the original author of ''The Dream of the Red Chamber'' was an anonymous person who had no relation with the Cao’s, and Cao Xueqin was only a reviser. The different opinions among the “redologists” about the author of ''The Dream of the Red Chamber'' caused the publishers not to know what to do. The new versions are therefore in confusion: some signed Cao Xueqin alone, some signed Cao Xueqin and Gao E together, and some signed nothing at all. --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 11:33, 10 November 2021 (UTC)

==李文璇 Lǐ Wénxuán 英语语言文学（英美文学）女 202120081500==
由于我对这个问题缺乏专门研究，只能在以上七种说法中加以选择。我认为这七种说法都有一定的根据，均非空穴来风。但相比之下，第一种说法的证据更为充分，也得到了学界的普遍认可，因此仍将曹雪芹和高鹗作为《红楼梦》的共同作者。

Because of a lack of specialized research to this question, I had to select from the seven statements above. I thought that the seven statements were of certain basis. However, with comparison, the evidence of first statement was more sufficient, and was largely approved by the academic circles. So, Cao Xueqin Autor and Gao E were still regarded as the co-author of ''the Dream of the Red Chamber''. --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 01:47, 6 November 2021 (UTC)
Being lacking in specialized research to this question, I had to select from the above seven versions . I thought that they were of certain basis. However, with comparison, the first statement was more credible, and was largely approved by the academic circles. So, Cao Xueqin and Gao E were still regarded as the co-author of ''the Dream of the Red Chamber''.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 06:57, 10 November 2021 (UTC)

==李雯 Lǐ Wén 英语语言文学（英美文学）女 202120081501==
至于这种说法的具体根据，以及两作者的生平，已见于不少专文，这里不再赘述。

二、版本问题

由于《红楼梦》创作过程和流传过程的特殊性，造成了《红楼梦》版本的复杂性。
We will not describe more about the specific reason of this opinion and lives of the two authors because a lot of scholars have discussed it.
二、Version problem
The unique process of creating and circulating A Dream in Red Mansions leads to such complicated versions of it.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 06:52, 10 November 2021 (UTC)

As well as the life of the two authors, has been seen in a number of articles, here will not be repeated.
Second, the version of the problem because of the "Dream of Red Mansions" creative process and the special nature of the process of circulation, resulting in the "Dream of Red Mansions" version of the complexity.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 04:36, 24 November 2021 (UTC)

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

而《红楼梦》版本的复杂性，又迫使我们不得不有所选择。《红楼梦》的创作和流传过程可以分为四个阶段：其一是曹雪芹的创作阶段。虽然曹雪芹自称“披阅十载，增删五次”，其实由于他溘然而逝，只留下了一部《红楼梦》的未完稿和未定稿。

The complexity of the version of a Dream of Red Mansions forces us to make choices. The creation and spread of a Dream of Red Mansions can be divided into four stages: one is Cao Xueqin Autor's creation stage. Although Cao Xueqin Autor, claimed that "reading for ten years, adding and deleting five times", in fact, because of his death, leaving only a dream of red Mansions unfinished and unfinished.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 08:59, 9 November 2021 (UTC)
--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 13:16, 29 December 2021 (UTC)
The complexity of the version of a ''dream of Red Mansions'' forces us to choose. The creation and spread of the ''dream of Red Mansions'' can be divided into four stages: one is the creation stage of Cao Xueqin Autor. Although Cao Xueqin Autor claimed to "read for ten years, add and delete five times", in fact, due to his death, only one unfinished and undecided version of a dream of Red Mansions was left.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 14:16, 9 November 2021 (UTC)

==李怡 Lǐ Yí 法语语言文学女 202120081504==
他只完成了八十回，约相当于全书的三分之二。他不仅未对这八十回的书稿进行修订润色，而且还有不少待补的缺文。以“红学家”认为最好的版本“庚辰本”为例：第十七、十八两回合用一套回目，第十九回没有回目；第二十二回写荣国府作灯谜游戏，“此回未成而芹逝矣”(脂砚斋批语)，以至不仅缺了主要人物贾宝玉、林黛玉和史湘云的灯谜，而且本回还有不少其他缺文；如此等等。
He completed only eighty times, about two-thirds of the book. Not only did he leave the eighty drafts unrevised, but there was still much to be done. To the researcher of a dream of Red Mansions that the best version of the "gengchen Ben" as an example: the 17th, 18th round with a set of return, the 19th back no return; The twenty-second time to write rongguo Mansion for lantern riddle game, the chapter is unfinished but Cao Xueqin is dead (the ink stone lent comments), so that not only the lack of lantern riddles of the main characters Precious Jade Merchant , Mascara Jade Forest and Fragrant-cloud History, and this time there are many other lack of text; And so on.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 05:26, 7 November 2021 (UTC)

He completed only eighty chapters, about two-thirds of the whole book. Not only did he leave the eighty drafts unrevised and unpolished, but there was still much missing pages to be filled. Take the “Gengchen Version” as an example, which was considered the best version by Redology scholars, the 17th, 18th chapters kept the same content and the 19th had no content; The chapter 22, which was about Rongguo Mansion' lantern riddle game, was unfinished before Cao Xueqin passed away. (comments from the Ink Stone Lent), so that there was not only a lack of lantern riddles of the main characters Precious Jade Merchant, Mascara Jade Forest and Fragrant-cloud History, but also many other contents, and so on.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 06:53, 7 November 2021 (UTC)

==刘沛婷 Liú Pèitíng 英语语言文学（英美文学）女 202120081505==
其二是曹雪芹《红楼梦》八十回本的传抄阶段，其间大约近三十年。由于抄书速度很慢，《红楼梦》的篇幅又很长，要想在短时间内抄完一部，需集多人之手。故多为达官显宦之家雇佣抄手，集体完成。

The second lay in the transmission and copying stage of 80 chapters of Cao Xueqin's ''A Dream of Red Mansions'', which lasted about 30 years. Due to the slow speed of copying and the long length of the novel, it required cooperation in order to scribe it done in a short time. Therefore it was the noble officials anddignitaries who often hired scribes to do the task together.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 06:39, 7 November 2021 (UTC)

The second stage is the transmission and copying of 80 chapters of ''A Dream of Red Mansions'' written by Cao Xueqin, which lasted about 30 years. Due to the slow speed of copying and the long length of the novel, it required cooperation in order to finish it in a short time. Therefore it was the noble officials and dignitaries who often hired scribes to do the task together.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 05:33, 10 November 2021 (UTC)

==刘胜楠 Liú Shèngnán 翻译学女 202120081506==
又因它是一部未完稿和未定稿，抄手便自觉或不自觉地加以增删修改；而抄手大多水平不高，且良莠不齐，鲁鱼亥豕，在所难免。从而导致大量异文乃至讹误的产生。其三是高鹗和程伟元续写后四十回并对全书进行修订和刊行的阶段。

And because it was an unfinished and undecided manuscript, the scribes consciously or unconsciously added, deleted and modified it. Most scribes lacked skills and the level of copying varied in quality. Accordingly, it was inevitable that clerical errors occurred, which led to a large number of variant versions of the book and even misinterpretations in the text. The third was the stage when Gao E and Cheng Weiyuan wrote a continuation of 40 chapters for ''A Dream in Red Mansions'', revised and published the whole book.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 13:29, 6 November 2021 (UTC)

And because it was an unfinished and undecided manuscript, the copywriters consciously or unconsciously added, deleted or modified it; Because most copywriters lacked skills and their level of copying varied in quality.so it was inevitable that led to a large number of different texts and even errors in the text. The third was the stage when E Gao and Weiyuan Cheng continued to write the last 40 chapters of ''A Dream in Red Mansions'',revised and published the whole book. --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 03:47, 7 November 2021 (UTC)Liu Wei

==刘薇 Liú Wēi 国别女 202120081507==
其间又可分为四段：首先由程伟元对各种《红楼梦》抄本加以搜集(其中可能包括无名氏续写的书稿)；其次由高鹗续写后四十回，并对前八十回进行大量修订(程伟元也可能参与了修订工作)；又次由程伟元于乾隆五十六年（公元1791年）用活字排印出版一百二十回本，后来被胡适先生命名为“程甲本”；次年由高鹗和程伟元对“程甲本”加以修订再版，后来又被胡适先生命名为“程乙本”。据说还有“程丙本”，如今已经不知下落，据个别看过的人说，较之“程乙本”改动甚少，因而可以置之不论。

It can be divided into four periods: firstly,Weiyuan Cheng collected various transcripts of ''A Dream of Red Mansions ''(including the manuscripts of a sequel written by anonymous authors); Secondly,E Gao continued to write the last 40 chapters and made a lot of revisions to the first 80 chapters (Weiyuan Cheng may also had participated in the revision work); thirdly, another 120 copies were printed and published by Weiyuan Cheng in movable type in the 56th year of the Emperor of Qianlong (AD 1791), which was later named "Cheng Jia Edition" by Mr.Shi Hu;Lastly, in the following year, E Gao and Weiyuan Cheng revised and republished the "Cheng Jia Edition", which was later named "Cheng Yi Ben" by Mr.Shi Hu. It is said that there is also "Cheng bing Edition", which is unknown now. According to someone who have seen it, there are few changes compared with "Cheng Yi Edition", so it can be set aside. --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 03:22, 7 November 2021 (UTC)Liu Wei

It can be divided into four stages: in the first stage, Cheng Weiyuan collected all kinds of transcripts of ''A Dream of Red Mansions'' (including the manuscripts of a sequel written by unknown authors); Secondly, Gao E continued the last 40 chapters and made a lot of revisions to the first 80 ones (Cheng Weiyuan may also had participated in the revision work); thirdly, another 120 copies were printed and published by Cheng Weiyuan in movable type in the 56th year under the reign of the emperor Qianlong (AD 1791), which were later named "Cheng Jia (the first) Editions" by Hu Shi; Lastly, in the following year, Gao E and Cheng Weiyuan revised and republished the "Cheng Jia Edition", which was later named "Cheng Yi (the second) Edition" by Hu Shi. It is said that there was also "Cheng Bing (the third) Edition", which now has no whereabouts. According to someone who had once read it, compared with "Cheng Yi Edition", there were so few changes that it could be set aside.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 15:11, 8 November 2021 (UTC)

==刘晓 Liú Xiǎo 英语语言文学（英美文学）女 202120081508==
其四是《红楼梦》刊本的流传阶段。此段从程伟元的活字本问世开始，直到现在。在刊本出现后，虽然由于某些人的爱好或习惯，仍有抄本流传，但已是强弩之末，不成气候，而刊本的流传却如燎原之势，席卷全国。

The fourth period is the circulation of the printed versions of ''a Dream of Red Mansions''. This stage has been going on since Cheng Weiyuan's movable printed editions were published. After these versions appeared, though transcripts were still spreading due to some people's hobbies or habits, it was like a spent arrow and no longer had great influence, while the printed versions spread and swept like fire through the country.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 14:22, 6 November 2021 (UTC)

The fourth period is the circulation of the printed versions of ''a Dream of Red Mansions''. This stage start from cheng Weiyuan's movable type book came out and until now. After the publication appeared, although due to some people's hobbies or habits, it was like a spent arrow and no longer had great influence, while the printed versions spread and swept like fire through the country.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:00, 8 November 2021 (UTC)

==刘越 Liú Yuè 亚非语言文学女 202120081509==
《红楼梦》如此特殊的创作和流传过程，导致了《红楼梦》的“三多”现象：版本多，异文多，讹误多。幸运的是，近几十年来，这些版本不仅不断被发现，而且陆续被影印出版，从而使我们得以大饱眼福。仅就我个人视野所及，即有十二种版本，而且五花八门：或名《石头记》(5种)，或名《红楼梦》(7种)；或为抄本(10种)，或为刊本(2种)；或为八十回系统(8种，其中6种为残本)，或为一百二十回系统(4种)。

The special creation and dissemination process of A Dream of Red Mansions leads to the phenomenon of "three many" : many versions, many different texts and many errors. Fortunately, in recent decades, these editions have not only been discovered, but photocopied and published, so that we can feast our eyes on them. As far as I can see, there are twelve versions, and they are diverse，named as "The Story of the Stone" (five versions) or "A Dream of Red Mansions" (seven versions). Some are codex (10 kinds) and some are periodical (2 kinds); Some are 80 chapter system (8 types, 6 of which are incomplete) and some are 120 chapter system (4 types).--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 06:53, 8 November 2021 (UTC)

The special creation and dissemination process of ''A Dream of Red Mansions'' led to a phenomenon called "three many": many editions, many variants and many errors. Fortunately, in recent decades, these editions have not only been discovered, but successively photocopied and published, which greatly regale us. As far as I know, there are twelve editions in great diversity. Some are titled ''The Story of the Stone'' (five editions), or ''A Dream of Red Mansions'' (seven editions); some are hand-copied (10 editions), while some printed (8 including 6 incomplete editions); some are composed of 80 chapters, while some others 120 chapters.--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 13:17, 13 November 2021 (UTC)

==刘运心 Liú Yùnxīn 英语语言文学（英美文学）女 202120081510==
《红楼梦》的众多版本，对于研究者是极有价值的，它们可以帮助研究者分析《红楼梦》的创作过程和流传过程，并进行比较研究。但对于普通读者来说，如此眼花缭乱的版本，犹如坠入五里雾中，使他们无从选择。因此《红楼梦》的研究者有义务为他们提供一个最好的版本。

The various versions of ''Dream of the Red Chamber'' have enormous value to researchers. They can be helpful to researchers in analyzing the processes of creation and dissemination, and facilitating comparative studies. However, for common readers, such a dazzling array of versions might leave them with a foggy head and unable to decide. Therefore, researchers are obliged to offer the best version. --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 06:09, 10 November 2021 (UTC)
The various versions of ''Dream of the Red Chamber'' are valuable to researchers, which can helpful to them in analyzing the processes of creation and dissemination of the book, as well as working on comparative studies. However, it would be confusing and indeterminable for the general readers when facing with such a dazzling array of versions. It’ s therefore incumbent upon researchers to offer the best version.
--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 14:32, 14 November 2021 (UTC)

==罗安怡 Luó Ānyí 英语语言文学（英美文学）女 202120081511==
况且为了很好地保存这笔珍贵的文化遗产，也必须确立一种《红楼梦》的最好版本。那么哪一种版本是《红楼梦》的最好版本呢？答案就是“程乙本”。鉴于至今仍有“红学家”对高鹗续写的《红楼梦》后四十回既持否定态度，又在出版《红楼梦》时不得不用它与曹雪芹的前八十回相配为完整的一百二十回本，我在这里必须首先对高续后四十回的价值略作说明。

Moreover, in order to preserve this precious cultural heritage, it is also necessary to establish the best version of ''Dream of the Red Chamber''. So which is the best version? The answer is "Cheng Yi Ben". Since, when publishing ''Dream of the Red Chamber'', there are still "Redologists" who have a negative attitude towards Gao E 's subsequent writing of the later forty chapters of ''Dream of the Red Chamber'', and who had to use Gao‘ s creation in conjunction with Cao Xueqin's first eighty chapters as the complete one—hundred and twenty chapters, I must first give a brief explanation of the value of Gao's continuation of the later forty chapters.--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 07:18, 8 November 2021 (UTC)

Moreover，it is also necessary to establish the best version of ''Dream of the Red Chamber'' to preserve this precious cultural heritage.So which one is the best version of it？The answer is "Cheng Yi Ben".Since there is still opposition against the forty chapters wrote by Gao E，the “master of the Dream of the Red Chamber，while it is a must to combine them and the eighty chapters wrote by Cao Xueqin to form an integral book which has one hundred and twenty chapters，I must briefly introduce the value of the forty chapters wrote by Gao E--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 08:46, 10 November 2021 (UTC)

==罗曦 Luó Xī 英语语言文学（英美文学）女 202120081512==
率先冲破评点派和索隐派而从中国小说发展史的角度客观评价高鹗续书的是胡适先生。他在1921年11月12日定稿的《〈红楼梦〉考证》（见1923年亚东图书馆版《胡适文存》）中说：我们平心而论，高鹗补的四十回，虽然比不上前八十回，也确然有不可埋没的好处。他写司棋之死，写鸳鸯之死，写妙玉的遭遇，写凤姐的死，写袭人的嫁，都是很有精采的小品文字。
The man who first transcend the groups of criticizing and objectively comment the continuation of Gao E from the perspective of the history of the development of Chinese novels is Hu Shi.He said in his 《Test of the Dream of the red mansions》finalised in 1921，12th November that：“To be honest，Gao E’s supplementary forty chapters，though not comparable to the original eighty chapters，still boast their own outstanding merits.For instance，he wrote the death of Si Qi，of Yuan Yang，of Feng Jie，the encounter of Miao Yu and the marriage of Xi Ren，are all excellent facetious words.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 12:08, 9 November 2021 (UTC)

It was Mr. Hu Shi who firstly made a breakthrough between “Pingdian Group” and “Suoying Group” and objectively evaluated Gao E’s continuation from the perspective of Chinese novel’s history. In ''A Textual Research on A Dream of Red Mansions'' finalized on November 12, 1921 (''Hu Shi’s Article Archive'', Yadong Library Edition, 1923), he said, “To be fair, the following forty episodes written by Gao E certainly have undeniable charm although not as good as the previous eighty. He ended Siqi’s life with death, wrote about the death of Yuanyang, the suffering of Miaoyu, Sister Feng’s demise and the marriage of Xiren, all of which are really brilliant sketches. --[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 06:31, 12 November 2021 (UTC)

==马新 Mǎ Xīn 外国语言学及应用语言学女 202120081513==
最可注意的是这些人都写作悲剧的下场。还有那最重要的“木石前盟”一件公案，高鹗居然忍心害理的教黛玉病死，教宝玉出家，作一个大悲剧的结束，打破了中国小说的团圆迷信。这一点悲剧的眼光，不能不令人佩服。

It is noteworthy that all these people wrote about tragic endings, expecially th most important case of " Wood and Stone's Previous Oath". In the novel, Gao E auturally had the heart to leave Daiyu to die of illness and Baoyu to become a monk. He made it ended up as a great tragedy and broke the routine of "reunion superstition" in traditional Chinese novels, which could not be more admirable from the tragic perspective.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 05:00, 7 November 2021 (UTC)

It is most noteworthy that all these characters are created with tragic endings. And as regards the most important case --- "The Pledge in front of Wood and Stone", in the novel, the author Gao E actually ended Mascara Jade Forest's (Lin Daiyu's) life with death resulting from illness and left Precious Jade Merchant (Jia Baoyu) to become a monk. Gao E finished ''A Dream of Red Mansions'' with a tragical epilogue so as to break the superstition that Chinese novels routinely end in happy reunion. In this sense, Gao E's tragic perspective deserves admiration and praise.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:09, 7 November 2021 (UTC)

==毛雅文 Máo Yǎwén 英语语言文学（英美文学）女 202120081514==
我们试看高鹗以后，那许多续《红楼梦》和补《红楼梦》的人，那一个不是想把黛玉、晴雯都从棺材里扶出来，重新配给宝玉？那一个不是想做一部“团圆”的《红楼梦》的？我们这里退一步想，就不能不佩服高鹗的补本了。我们不但佩服，还应该感谢他，因为他这部悲剧的补本……居然打倒了后来无数的团圆《红楼梦》，居然替中国保存了一部有悲剧下场的小说！

As we can see, after Gao E finished ''A Dream of Red Mansions'' (which was left unfinished by the previous author Cao Xueqin), many of those who wrote this work continually or supplementarily were all eager to save Mascars Jade Forest (Lin Daiyu) and Sunny Cloud Formation (Qing Wen), who died and lay in coffin, and then to betroth them to Precious Jade Merchant (Jia Baoyu). And these writers all had the desire to end the story in a warm reunion. On second thought, we cannot but have a high opinion of Gao E's supplementary version ''A Dream of Red Mansions''. Arguably, not only should we admire but show gratitude for him, on the grounds that, his edition packed with tragic color is unexpectedly more laudatory than those with happy endings, actually preserving a novel with the tragical epilogue in China.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 07:35, 7 November 2021 (UTC)

As we can see, after Gao E finished ''A Dream of Red Mansions'' (which was left unfinished by the previous author Cao Xueqin), many of those who wrote this work continually or supplementarily were all eager to save Lin Daiyu and Qing Wen (or Sunny Cloud Formation), who died and lay in coffin, and then to betroth them to Jia Baoyu (or Precious Jade Merchant). Which writer did not want to create "A Dream of the Red mansion" with a reunion ending? On second thought, we cannot but have a high opinion of Gao E's supplementary version ''A Dream of Red Mansions''. Arguably, not only should we admire but show gratitude for him, on the grounds that, his edition packed with tragic color is unexpectedly more laudatory than those with happy endings, actually preserving a novel with the tragical epilogue in China.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 12:33, 7 November 2021 (UTC)

==毛优 Máo Yōu 俄语语言文学女 202120081515==
几乎与胡适同时，俞平伯先生也对高鹗的续书予以专章论述。他在1923年亚东图书馆出版的《红楼梦辨·论续书底不可能》中说：从高鹗以下，百馀年来，续《红楼梦》的人如此之多，但都是失败的……我以为凡书都不能续，不但《红楼梦》不能续；凡续书的人都失败，不但高鹗诸人失败而已。
Almost at the same time as Hu Shi, Mr. Yu Pingbo also devoted a chapter to the continuation of Gao E's book. He said in the "A Dream of the Red Mansion - the impossibility of the continuation of the book" published by the Yadong Library in 1923: From Gao E down, more than a hundred years, so many people have renewed the "A Dream of the Red Mansion", but they all failed ...... I think all books can not be renewed, not only the "A Dream of the Red Mansion" can not be renewed; all the people who renewed the book failed, not only Gao E and others failed.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 12:27, 7 November 2021 (UTC)

Almost at the same time as Hu Shi, Mr. Yu Pingbo also devoted a comment chapter to the continuation of Gao E. He said in the "A Dream of the Red Mansion - the impossibility of the continuation of the book" published by the Yadong Library in 1923: Since Gao E, more than a hundred years, so many people have renewed the "A Dream of the Red Mansion", but they all failed ... I think all books can not be renewed, not only the "A Dream of the Red Mansion" is in the case; all the people who renewed books failed, not only Gao E and others did.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 01:43, 8 November 2021 (UTC)

==牟一心 Móu Yīxīn 英语语言文学（英美文学）女 202120081516==
因此他的结论是：高鹗诸人续写的《红楼梦》都是“狗尾续貂”。俞先生“凡书都不能续”、“凡续书的人都失败”的说法未免武断，至少措辞不够严谨。事实上，成功的续书并非没有，只是不多。

Therefore, his conclusion is: The continuations of "The Dream of Red Mansions" written by the Gao E and others are all "wretched sequels to a masterpiece." Mr. Yu’s statement that “every book cannot be continued” and “everyone who renews a book fails” is a bit too arbitrary, at least the wording is not rigorous enough. In fact, successful continuations do exist, but are not substantial.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 01:29, 8 November 2021 (UTC)

He therefore concludes that the sequels to Dream of the Red Chamber written by the Gao Ospreys are all "dog tails on a marten", which means a wretched sequels to a masterpiece. Mr. Yu's statement that "all books cannot be renewed" and "all those who renew books will fail" is arbitrary, or at least not carefully worded. In fact, successful continuations do exist, but are not substantial.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 23:35, 9 November 2021 (UTC)

==彭瑞雪 Péng Ruìxuě 法语语言文学女 202120081517==
且不说成功的学术著作不乏范例，就是小说作品的续书也有成功的。譬如清代陈忱的《水浒后传》、近代吴趼人的《新石头记》，就都是别开生面之作。不过俞先生毕竟是严肃的学者，尽管他对高鹗的续书很不满意，却对高鹗的功绩予以肯定。

Not to mention that there is no shortage of examples of successful scholarly works, there are also successful sequels to works of fiction. For example, Chen Chen's ''The Afterlife of Water Margin'' in the Qing dynasty and Wu Jianren's ''The New Story of the Stone'' in the modern era are both original works. But Mr. Yu, after all, was a serious scholar, and although he was dissatisfied with Gao E's sequel, he acknowledged Gao's merits.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 23:25, 9 November 2021 (UTC)

Not to mention that there is no shortage of successful examples of scholarly works, there are also successes in sequels to works of fiction. For example, Chen Chen's ''The Afterlife of Water Margin'' in the Qing dynasty and Wu Jianren's ''The New Story of the Stone'' in the modern era are both original works in new forms. But Mr. Yu, after all, was a serious scholar, and although he was dissatisfied with Gao E's sequel, he acknowledged Gao's merits.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 09:06, 7 November 2021 (UTC)

==秦建安 Qín Jiànān 外国语言学及应用语言学女 202120081518==
他在《红楼梦辨·后四十回底批评》中说：高鹗以审慎的心思，正当的态度来续《红楼梦》；他宁可失之于拘泥，不敢失之于杜撰。其所以失败：一则因《红楼梦》本非可以续补的书，二则因高鹗与曹雪芹个性相差太远，便不自觉地相违远了。处处去追寻作者，而始终赶他不上，以致迷途；这是他失败时底光景。

He said in the ''Defense of The Dream of Red Mansion: the criticism of the last forty chapters'': “GaoE continued writing The Dream of Red Mansion with his prudent intention and serious attitude; He would rather make it up than adhere to it. There are two reasons for the failure of his version. The first is that the book itself is not a book that can be continued writing. The other is GaoE’ s character is different far from Cao Xueqin’sw which naturally lead to his misconception about this book. He tried his best to catch the main points of Cao Xueqin whereas he even couldn’t see the back of Cao Xueqin resulting in the wrong path. This is his background of failure.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 08:11, 7 November 2021 (UTC)

He said in the '' Defense of A Dream of Red Mansions: the criticism of the last forty chapters '': “Gao E continued writing '' A Dream of Red Mansions '' with his prudent intention and serious attitude; He would rather rigidly adhere to the content than fabricate some details. There are two reasons for the failure of his version. The first is that this novel itself is not the one that can be continued writing. The other is that Gao E’ s character is different far from Cao Xueqin’s which naturally lead to very distinct characteristics in this novel. He tried his best to catch the main points of Cao Xueqin whereas he even couldn’t see the back of Cao Xueqin resulting in the wrong path. This is the reason of his failure.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 13:28, 8 November 2021 (UTC)

==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==
至于混四十回于八十回中，就事论事，是一种过失；就效用影响而论，是一种功德；混合而论是功多罪少。“失败了，光荣地失败了！”是我对于高鹗底赞扬和指斥。俞先生在晚年对高鹗的续书给予更多的肯定，认为高鹗的续书使残缺的《红楼梦》成为完璧，是一大功劳。

As for adding forty chapters to the original eighty chapters, sticking to the facts, it is actually a demerit. However, it can be a kind of merits and virtues in terms of utility effect. With regarding to several aspects, and his merits can more than wipe out his faults. “Failed, gloriously failed!”It's my praise and rebuke to Gao E. In the later years of Mr. Yu, he gave more recognition to Gao E’sequel, believing that Gao E’ sequel made the fragmentary ''A Dream of Red Mansions'' a complete story which was a great credit.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 13:25, 8 November 2021 (UTC)

As for mixing the forty chapters to the original eighty chapters, actually it is a kind of negligence in terms of facts; in terms of effectiveness and influence, it is a kind of merit; in terms of mixing, it is more meritorious and less sinful. "Failed, failed gloriously!" I praised and reprimanded Gao E. In his later years, Mr. Yu gave more affirmation to Gao E’s sequel, and believed that Gao E’ s sequel made the incomplete ''Dream of Red Mansions'' a great achievement.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 05:16, 12 November 2021 (UTC)

==饶金盈 Ráo Jīnyíng 英语语言文学（语言学）女 202120081520==
鲁迅先生也对高鹗的续书予以肯定，只是对书末贾府的“复振”表示遗憾。他在《中国小说史略》（1923、1924年由北京大学新潮社分上下册出版，1925年由北京北新书局合为一册出版）第二十四篇中说：后四十回虽数量止初本之半，而大故迭起，破败死亡相继，与所谓“食尽鸟飞独存白地”者颇符，惟结束又复振。

Lu Xun also gave a approval to the sequel of the book by Gao E, but regretted the “revitalization” part of Merchant’s mansion at the end of the book. He claimed in Chapter 24 of ''Chinese Novel Outline History''(In 1923 and 1924, published in two volumes by the New Trend Union of Peking University, and in 1925, published in one volume by Beixin Publishing House in Beijing) that although the latter forty chapters is only half of the original version in quantity, there are great changes, ups and downs, and dilapidated deaths one after another, which is very consistent with the so-called “eating all birds and flying alone in the white land”, but it ends and vibrates again.
--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 09:14, 7 November 2021 (UTC)

Lu Xun also affirmed Gao E’s sequel, and just expressed regret for the “revitalization” of Merchant Mansion at the end of the book. He claimed in chapter 24 of Chinese Novel Outline History(In 1923 and 1924, published in two volumes by the New Trend Union of Peking University, and in 1925, published in one volume by Beixin Publishing House in Beijing) that although the last forty chapters are only half of the original version in quantity, events occurred constantly and loss and death were in succession, which was quite consistent with the statement “birds ate and flew, then left the bleak place”. But it was a pity that the sequel ended in revitalization. --[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 00:58, 8 November 2021 (UTC)

==石丽青 Shí Lìqīng 英语语言文学（英美文学）女 202120081521==
以上三位权威学者对高鹗续书的评价不尽相同，但有两点共识：高鹗的后四十回逊于曹雪芹的前八十回，但他完成了曹雪芹的未竟之业，使残缺的《红楼梦》成为完璧；尤其打破了中国传统小说的“团圆迷信”，使《红楼梦》成为中国小说史上首部悲剧小说，这在中国小说发展史上是一个伟大创举。我认为三位先生的这两点共识是客观公正的，是高见卓识。

The above three authoritative scholars hold various comments on Gao E’s sequel, sharing two points of consensus. One the one hand, Gao E’s last forty chapters are inferior to Cao Xueqin’s first eighty counterparts, but he has completed Cao’s unfinished work, rendering A Dream in Red Mansions perfect. On the other hand, in particular, Gao E breaks the routine of “reunion superstition”in traditional Chinese novels and makes A Dream in Red Mansions the first tragic writing in the past records of Chinese novels, which is a great pioneering work in the history of Chinese novel development. As far as I am concerned, these two points proposed by the three respected scholars are objective, fair and insightful. --[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 14:23, 6 November 2021 (UTC)

The above three authoritative scholars hold various comments on Gao E’s sequel, but sharing two points of consensus. One the one hand, Gao E’s last forty chapters are inferior to Cao Xueqin’s first eighty counterparts, but he has completed Cao’s unfinished work, rendering the incomplete ''A Dream in Red Mansions'' complete. On the other hand, in particular, Gao E breaks the routine of “reunion superstition”in traditional Chinese novels and makes ''A Dream in Red Mansions'' become the first tragic writing in the past records of Chinese novels, which is a great pioneering work in the history of Chinese novel development. As far as I am concerned, these two points proposed by the three respected scholars are objective, fair and insightful.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 06:49, 9 November 2021 (UTC)

==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学女 202120081522==
晚近的某些“新红学家”尽管对高鹗大加挞伐，却无法推翻三位先生的这两点共识；最多只能进一步证明高鹗的续书比不上曹雪芹的原作，而不能抹煞高鹗续书的这两大功绩。我们可以设想，如果没有高鹗的续书，只能有两种结果：一是我们只能看到一部残缺不全的《红楼梦》，犹如只能欣赏一只断尾巴的孔雀；二是我们只能看到《红楼复梦》、《红楼圆梦》之类下三流续作，使《红楼梦》跳不出“团圆”小说的窠臼。

Although some recent "new Redologists" criticized Gao E drastically, they could not overturn the consensus of the three gentlemen; at most, they could only further prove that Gao E's sequel is not comparable to Cao Xueqin's original, rather than erase the two achievements of Gao E's renewal. We can imagine that if we have no Gao E's sequel, there can only be two results: one is that we can only see an incomplete ''A Dream of Red Mansions'', like only enjoying a peacock with a broken tail, the other is that we can only see ''A Dream of Red Mansions Again'', ''A Dream of Red Mansions Reunion'' and other renewals that are third-classs, which makes ''A Dream of Red Mansions'' cannot jump out of the mold of "reunion" novel.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 06:45, 9 November 2021 (UTC)
--[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 16:25, 9 November 2021 (UTC)

Although some recent “new Redologists” criticized Gao E drastically, they could not overturn the two consensuses of the three gentlemen; they could only further prove that Gao E's sequel is not comparable to Cao Xueqin's original, rather than obliterate the two achievements of Gao E's continuation. We can imagine that, without Gao E's sequel, there would be only two results: one is that we could only see an incomplete ''A Dream of Red Mansions'', as if we could only appreciate a peacock with a broken tail, the other is that we can only see such third-rate sequels like ''A Dream of Red Mansions'' Again, ''A Dream of Red Mansions Reunion'', making ''A Dream of Red Mansions'' cannot jump out of the set pattern of "reunion" novel. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 06:17, 10 November 2021 (UTC)

==王李菲 Wáng Lǐfēi 英语语言文学（英美文学）女 202120081523==
因此，不仅我们应该感谢高鹗，如果曹雪芹地下有知，也会视高鹗为知己。胡适等三位先生论证了高鹗的两大功绩，就等于完全肯定了完整的一百二十回的《红楼梦》。但完整的《红楼梦》有两种版本，即“程甲本”和“程乙本”，两者的出版时间仅隔一年左右。

Therefore, not only should we be grateful to Gao E, if Cao Xueqin was alive and knew about it, he would also regard Gao E as a confidant. Hu Shi and other three gentlemen demonstrated Gao E’s three achievements, which was equivalent to confirming the complete 120 chapters of a Dream of Red Mansions. However, there are two versions of the complete work, namely the “Cheng A edition” and “Cheng B edition”, whose publishing interval was only about one year. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 15:35, 6 November 2021 (UTC)

Hu Shi and other three gentlemen demonstrated gao e's two great achievements, which is equivalent to confirming the complete 120 chapters of a Dream of Red Mansions. However, there are two versions of the complete work, namely the "Cheng Jiabo edition" and "Cheng Yibo edition", which were published only about a year apart.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 05:17, 12 November 2021 (UTC)

==王逸凡 Wáng Yìfán 亚非语言文学女 202120081524==
这两种版本究竟哪一种更好呢？当然是“程乙本”，因为它是高鹗对“程甲本”精心修订的定稿本。程伟元和高鹗在“程乙本”《〈红楼梦〉引言》中说：因急欲公诸同好，故初印时不及细校，间有纰缪。今复聚集各原本，详加校阅，改订无讹。

Which of these two versions is better? Of course, it is "Cheng Yi", because it is gao e to "Cheng Jia" carefully revised final version. Cheng Weiyuan and Gao E said in "Cheng Yi" "DREAM of Red Mansions" introduction: Due to the urgent desire for public relations, the initial printing was not corrected in detail, and there were mistakes. This complex gathered the original, detailed review, change without error.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 05:12, 12 November 2021 (UTC)

Which version is better? Of course, it is "Cheng Yi", because it is gao e to "Cheng Jia" carefully revised final version. Cheng Weiyuan and Gao E said in "Cheng Yi" "DREAM of Red Mansions" introduction: Due to the urgent desire for public relations, the initial printing was not corrected in detail, and there were mistakes. This complex gathered the original, detailed review, change without error.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 12:36, 22 November 2021 (UTC)

==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学）男 202120081525==
惟阅者谅之。这就是说，高鹗续写后四十回并修订曹雪芹的前八十回时，“因急欲公诸同好”，未能像曹雪芹那样“批阅十载，增删五次”，而是匆促而成，在排印过程中又没有仔细校对，以致“纰缪”难免，因而立即加以修订再版，从而产生了“程乙本”。可见“程乙本”是对“程甲本”的“纰缪”加以修订的本子，自然胜于“程甲本”了。

Only those who read it will forgive it. That is to say, when Gao E continued to write the last 40 chapters and revised Cao Xueqin's first 80 chapters, "because he was anxious to be good to the public", he failed to "review for ten years, add and delete five times" as Cao Xueqin did.Hurriedly,he did not proofread carefully in the process of typesetting, so that "mistakes" were inevitable.Therefore, he immediately revised and reprinted it, resulting in "the version of Cheng Yi". It can be seen that "the version of Cheng Yi" is a book to revise the "mistakes" of "the version of Cheng Jia", which is naturally better than "the version of Cheng Jia".--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 02:57, 10 November 2021 (UTC)

Only readers will forgive it. That is to say, when Gao E continued to write the last 40 chapters and revised Cao Xueqin's first 80 chapters, he was anxious to share it with the public, so he failed to review for ten years, add and delete five times as Cao Xueqin did.He hurried to finish it, not proofreading carefully in the process of typesetting, so mistakes were inevitable. Therefore, \ he immediately revised and reprinted another verison, resulting in appearing "Cheng Yi (the second) Edition". It can be seen that " Cheng Yi" is a book to revise the "mistakes" of "Cheng Jia (the first) Edition", which is naturally better than "Cheng Jia".--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 07:43, 13 November 2021 (UTC)

==卫怡雯 Wèi Yíwén 英语语言文学（英美文学）女 202120081526==
然而由于出版商不加细较，以为初刊本更为可靠，以致在相当一段时间内，翻印的“程甲本”曾大行其道。直到1927年，胡适先生因亚东图书馆老板汪元放先生点校并出版过“程甲本”，便将自己珍藏的“程乙本”推荐给汪先生。汪先生便将“程乙本”与“程甲本”加以仔细对勘，并加上新式标点，予以出版。

However, the publisher did not go into details, and believed that the first edition was more reliable. So in a fairly long period, the translated and printed “Cheng Jia (the first) Edition” became popular. Until 1927, Mr. Hushi recommended his treasured collection of “Cheng Yi (the second) Edition” to the owner of Yadong Library, Mr. Wang Yuanfang after he heard that Mr. Wang had punctuated, proofead and published“Cheng Jia (the first) Edition”. Then Mr. Wang checked against another between “Cheng Jia” and “Cheng Yi” , added the new punctuation and published it.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 03:17, 10 November 2021 (UTC)

However, the publisher did not proofread carefully and believed that the first edition was more reliable. So in a fairly long period, the printed “Chengjia Edition” became popular. Until 1927, Mr. Hushi recommended his treasured collection of “Chengyi Edition” to Mr. Wang Yuanfang who was the owner of Yadong Library because Mr. Wang once proofread and published “Chengjia Edition”. Then Mr. Wang contrasted “Chengjia Edition” with “Chengyi Edition” in detail and decided to add the new-style punctuations to the latter and publish it.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 11:00, 12 November 2021 (UTC)

==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学）女 202120081527==
胡适先生并为该书写了《重印乾隆壬子本〈红楼梦〉序》。他在《序》文中说：现在印出的程乙本，就是那“聚集各原本，详加校阅，改订无讹”的本子，可说是高鹗、程伟元合刻的定本。这个改本有许多改订修正之处，胜于程甲本。

Mr.Hushi wrote "A Preface for the Re-printed Qianlong Renzi Edition of ''A Dream in Red Mansions''" for this book. In the preface, he said that the newly-printed Chengyi edition which was revised carefully by referring to all kinds of original editions to make sure no incorrect information in it, was the final edition made by Gao E and Cheng Weiyuan. This edition had many corrections so it was better than the Chengjia edition. --[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 08:47, 11 November 2021 (UTC)

Mr.Hushi has written ''A Preface for the Re-printed Qianlong Renzi Version of "''A Dream in Red Mansions''"'' for this book. In this preface, he said that the current printed Chengyi edition was the final edition made by Gao E and Cheng Weiyuan which was revised carefully by gathering all kinds of original editions to make sure no incorrect information was in it. This edition had many corrections so it was much better than the Chengjia edition.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 06:58, 23 November 2021 (UTC)

==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学）女 202120081528==
但这个本子发行在后，程甲本已有人翻刻了；初本的一些矛盾错误仍旧留在现行各本里，虽经各家批注里指出，终没有人敢改正。胡适先生并举了三个例子，以证明“程乙本”胜于“程甲本”。由此可知，胡适先生不仅是第一个发现并公开指出“程乙本”胜于“程甲本”的人，而且推荐并贡献出了自己珍藏的“程乙本”初刊本，为“程乙本”后来的广泛流行起了决定性的作用。

But after the release of this edition, Cheng Jia edition has already been reprinted. Some contradictions and errors from the original edition still remained in the current edition. Although many literary masters has pointed out these mistakes in their annotations, no one eventually dared to correct them. And Mr. Hu Shi gave three examples to prove that Cheng Yi edition was better than Cheng Jia edition. So it can be seen that he was not only the first to discover and publicly pointed out this, but also recommended and contributed the original Cheng Yi edition of his own treasure, which played a decisive role in the wide popularity of this edition.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 00:55, 7 November 2021 (UTC)

But after the release of this edition, Cheng Jia edition has already been reprinted. Some contradictions and errors of the original edition still remained in the current edition. Although many literary masters had pointed out these mistakes in their annotations, but no one eventually dared to correct them. And Mr. Hu Shi gave three examples to prove that Cheng Yi edition was better than Cheng Jia edition. So it can be seen that he was not only the first to discover and publicly pointed out this, but also recommended and contributed the original Cheng Yi edition of his own treasure, and that played a decisive role in the wide popularity of its edition.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 06:19, 7 November 2021 (UTC)

==吴婧悦 Wú Jìngyuè 俄语语言文学女 202120081529==
汪原放先生也没有辜负胡适先生的重托，不仅出版了“程乙本”，而且对两个“程本”加以仔细对勘，并用增删改动文字的统计数字与具体例子（详见下文），进一步证明了“程乙本”优于“程甲本”。由于胡适先生的学术威望和汪原放先生点校的“程乙本”面世，尤其是“程乙本”确实胜于“程甲本”，故此后书商大多舍弃了“程甲本”，竞相刊印“程乙本”，“程乙本”几乎一统天下。这种局面一直持续到上世纪五六十年代。

Mr.Wang Yuanfang also lived up to the great trust of Mr.Hu Shi. He not only published "Cheng Yiben", but also carefully surveyed the two "Cheng Yiben", and changed the statistics and specific examples (see below for details), further proving that "Cheng Yiben" was better than "Cheng Jiaben". Because Mr.Hu Shi's academic prestige and Mr.Wang Yuanfang's "Cheng Yiben" were published, especially "Cheng Yiben" was indeed better than "Cheng Jiaben", so most booksellers abandoned "Cheng Jiaben" and competed to print "Cheng Yiben", " Cheng Yiben " almost unified the whole world. The situation has been continuing until the 1950s and 1960s.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:48, 6 November 2021 (UTC)
Mr. Wang Yuanfang also lived up to Mr. Hu Shi's great trust. He not only published "Cheng Yi Ben", but also carefully surveyed the two "Cheng Ben", and further proved that "Cheng Yi Ben" was better than "Cheng Jia Ben" with statistics and specific examples of adding, deleting and changing words (see below for details). Due to the academic prestige of Mr. Hu Shi and the appearance of "Cheng Yi Ben" ordered by Mr. Wang Yuanfang, especially "Cheng Yi Ben" is indeed better than "Cheng Jia Ben", most booksellers abandoned "Cheng Jia Ben" and competed to publish "Cheng Yi Ben" and "Cheng Yi Ben" almost dominates the world. This situation lasted until the 1950s and 1960s.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 13:31, 7 November 2021 (UTC)

==吴映红 Wú Yìnghóng 日语语言文学女 202120081530==
然而到了八十年代以后，“程乙本”一统天下的局面却被打破了，各种版本的《红楼梦》纷纷涌现，其中多为拼凑本，即前八十回采用抄本，后四十回则多采用高鹗作废了的“程甲本”，从而造成了《红楼梦》版本的混乱现象。这种混乱现象使本来已经解决了的《红楼梦》版本问题又重新出现纷争，也使普通读者陷入了不知如何选择《红楼梦》的境地。
However, after the 1980s, the situation of "Cheng Yi Ben" dominating the world was broken, and various versions of a dream of Red Mansions emerged one after another, most of which were piecemeal copies, that is, the transcripts of the first 80 chapters were used, and the "Cheng Jia Ben" cancelled by Gao e was used in the last 40 chapters, resulting in the confusion of the version of a dream of Red Mansions. This chaotic phenomenon makes the original version of a dream of Red Mansions once again controversial, and makes ordinary readers fall into the situation of not knowing how to choose a dream of Red Mansions.

However, after the 1980s, the dominating situation of "Cheng Yi version"was broken, and various versions of The Dream of Red Mansions emerged one after another, most of which were cobbled together, where the first eighty editions used the codified version, while the last forty editions mostly used Gao E's cancelled Cheng Jia version, thus causing confusion in the version of a Dream of Red Mansions.This kind of confusion makes the issue of the edition of a Dream of Red Mansions reappear, and also makes ordinary readers have no idea how to choose a Dream of Red Mansions.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 06:27, 10 November 2021 (UTC)

==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学）女 202120081531==
钱锺书先生虽然不研究《红楼梦》，但对《红楼梦》版本的混乱现象却很不以为然。他在上世纪九十年代说过（大意）：《红楼梦》研究中的许多纠葛与纷争，大多源于版本问题。在同一问题上，张三根据这个版本，李四根据那个版本，公说公有理，婆说婆有理，一万年也说不清，实在无谓得很。

Although Qian zhongshu never study ''The Dream of Red Mansions'', he considers that the phenomenon of mess versions does not really matter.In the 1990s, he said that (roughly meaning)most of the disputes in the study of ''The Dream of Red Mansions'' resulted from the issue of versions. On the same issue, different people refer to different versions for their so-called reasonable purpose.Thus, the disputes can never be settled. And such a phenomenon is really meaningless.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 06:23, 10 November 2021 (UTC)

Although Qian zhongshu never study ''The Dream of Red Mansions'', he considered disapprovingly that the phenomenon of chaos versions does not really matter.In the 1990s, he said that (a rough meaning)most of the disputes in the study of ''The Dream of Red Mansions'' resulted from the issue of versions. On the same issue, different people refer to different versions for their so-called reasonable purpose.Thus, the disputes can never be settled. And such a phenomenon is really meaningless.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 06:47, 10 November 2021 (UTC)

==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学）女 202120081532==
这是《红楼梦》的悲剧，也是中国学界的悲剧。为了永久保存《红楼梦》这笔珍贵遗产，也为了给广大读者提供一个《红楼梦》的范本，必须从众多版本中确定一个最好的版本，而这个版本就是胡适先生推荐的“程乙本”。至于其他版本，则只供研究之用。

This is not only the tragedy of The Dream of the Red Chamber , but also the tragedy of Chinese academic circles. In order to permanently preserve the precious heritage of The Dream of the Red Chamber and provide readers with a model of The Dream of the Red Chamber, we must determine the best version from many versions, and this version is the "Cheng Yi version" recommended by Mr. Hu Shi. Other versions are only for research purposes only.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 14:00, 6 November 2021 (UTC)

This is not only a tragedy of Dream of the Red Chamber , but also a tragedy of Chinese academic circles. In order to permanently preserve the precious heritage of Dream of the Red Chamber and provide readers with a model of Dream of the Red Chamber, we must determine the best version from many versions, and this version is the "Cheng Yi version" recommended by Mr. Hu Shi. Other versions are only for research purposes only.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 11:15, 7 November 2021 (UTC)

==谢庆琳 Xiè Qìnglín 俄语语言文学女 202120081533==
我完全赞成以上诸位先生的看法，毋须我再费笔墨，所以我在这里只是为他们的看法提供一些实例。首先，“程乙本”的前八十回由于经过了高鹗(也许还有程伟元)的大量修订，较之诸抄本大有改观，使之更加完善。具体来说，就是对众多异文加以筛选，去除讹误，择善而从，并加以必要的补阙、修改、删节和增饰。

I totally agree with the views of the above teachers, so I don't need to say more, so I will just provide some examples for their views here. First of all, the first eighty books of "Cheng Yi version" have been revised extensively by Gao Osprey (and perhaps Cheng Wei Yuan), which is a great improvement over the codices and makes it more perfect. Specifically, it is the screening of many different texts, the removal of errors, the selection of good, and the necessary additions, modifications, abridgments and additions.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 10:56, 7 November 2021 (UTC)

I totally agree with the opinions of you all, so I don't bother to say more. So I will just provide some examples for their views here. First of all, the first eightith chapters of "Cheng Yi's version" have been revised for many times by Gao Osprey (and perhaps Cheng Wei Yuan), which is an improvement over the codices and makes it more perfect. Specifically, it made a selection from many different texts, corrected errors, selected the good, and offered the necessary additions, modifications, removal and polishment.--[[User:Xiong Min|Xiong Min]] ([[User talk:Xiong Min|talk]]) 07:28, 8 November 2021 (UTC)

==熊敏 Xióng Mǐn 英语语言文学（英美文学）女 202120081534==
试举六例如下：例一：原作第十七、十八两回合用一套回目，第十九回没有回目。高鹗将那套合用的回目归第十七回，而为第十八、十九两回补拟了回目。例二：原作第十八回写元妃省亲回府，“只见园中香烟缭绕，花彩缤纷，处处灯光相映，时时细乐声喧，说不尽太平景象，富贵风流”，下面却接着有这样一段：此时自己回想当初在大荒山中青埂峰下，那等凄凉寂寞。

Here are six examples. Firstly, the chapter 17 and 18 of the original work shared the same title and the 19th one didn't have have any. Gao-E merged the shared one into chapter 17 and rethought a title for chapter 18 and 19. Secondly, chapter 18 in the original one showed that Yuan concubine visited relatives, as "See nothing but scent lingering, flowers blossoming, lights glistening and bustle hustleing.WHat a stable and flourish society!" Here goes another saying: at that time I recalled the time when I in the foot of Dahuangshan Mountain, and I felt so lonely.

Here are six examples. Firstly, the chapter 17 and 18 of the original work shared the same title and the 19th one didn't have any. Gao'E merged the shared one into chapter 17 and rethought a title for chapter 18 and 19. Secondly, chapter 18 in the original one showed that Yuan concubine visited relatives, as "See nothing but scent lingering, flowers blossoming, lights glistening and bustle hustleing.WHat a stable and flourish society!" Here goes another saying: at that time I recalled the time when I in the foot of Dahuangshan Mountain, and I felt so lonely.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 09:55, 14 November 2021 (UTC)

==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究男 202120081535==
若不亏癞僧、跛道二人携来到此，又安能得见这般世面？本欲作一篇《灯月赋》、《省亲颂》，以志今日之事，但又恐入了别书的俗套。按此时之景，即作一赋一赞，也不能得尽其妙；即不作赋、赞，其豪华富丽，观者诸公亦可想而知矣。

If the Monk and the Taoist don't bring me here, how could I can see such elephant. I wanted to write an ''Ode to Lantern Moon'' or ''Ode to Visiting Relatives'' to commemorate today's event, but I was afraid to falling into the conventions of other books. The scene of this period, we can't get its wonderful in length even we write a praise. And if we don't write, the viewer also can imagine its luxurious richly.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:26, 10 November 2021 (UTC)

If not the monk with scappy head and the lame Taoist priest bring me here, how could I can see such the world like this. I wanted to write an ''Ode to Lantern Moon'' or ''Ode to Visiting Relatives'' to commemorate today's event, but I was afraid to falling into the conventions of other books. In the scene of this period, we can't get the wonderfulness in length even we write a praise. And if we don't write, the viewer also can imagine its luxury and richness.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 02:18, 12 November 2021 (UTC)

==颜静 Yán Jìng 语言智能与跨文化传播研究女 202120081536==
所以倒是省了这工夫纸墨，且说正经的为是。本书前面已经交代得明明白白，大荒山青埂峰下的那块石头被一僧一道携入红尘后已幻化为口衔通灵宝玉的贾宝玉，而从这段话看，那块石头的化身却是贾元春，难道姐弟二人都是那块石头所化吗？如果说这段话的前大半截是写贾宝玉的心理活动，误安在了贾元春的头上，也还是说不通，因为不可能在描写贾元春省亲观感的文字当中无缘无故插入一段对贾宝玉的心理描写。

Therefore the time to write them is saved, and it is time to talk something serious. It has been clearly explained in the front of this book that the stone under the Loveroot Peak of the Great Wilderness Mountain has been transformed into Precious Jade Merchant with psychic jade in his mouth after being brought into the world by a monk and a Taoist priest. From this paragraph, however, the incarnation of that stone is First Spring Merchant. Are both the sister and brother transformed by that stone? If the first half of this paragraph is about Precious Jade Merchant's psychological activities, and is mistakenly thought as First Spring Merchant's, it still doesn't make sense. Because it is impossible to insert a psychological description of Precious Jade Merchant into the words describing First Spring Merchant's feelings about relatives for no reason.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 10:16, 10 November 2021 (UTC)

If the first half of this paragraph is about Precious Jade Merchant's psychological activities, which is mistakenly thought as First Spring Merchant's, it still doesn't make sense.
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 10:13, 13 November 2021 (UTC)

==颜莉莉 Yán Lìlì 国别女 202120081537==
尤为荒唐的是，从“观者诸公”以下文字，又突然变为作者的第三人称口气，更令人丈二金刚，摸不着头脑。如此语无伦次的拙劣文字，决非曹雪芹的原文，而是抄书者的误抄或窜文。“程乙本”将其全部删除，犹如割除了一个赘瘤，使行文变得合理而又通畅。

What is particularly absurd is that, from the following words "all the audience", and suddenly into the third person tone of the author,which is even more puzzling. Such incoherent poor text, not Cao Xueqin's original text, but the copy of the wrong copy or channelized text. "Cheng Yi version" deleted all of them, just like cutting out a superfluous tumor, so that the writing becomes reasonable and unobstructed.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 12:58, 7 November 2021 (UTC)

Such incoherent poor text, not Cao Xueqin Autor's original text, but the copy of the wrong copy or channelized text. "Cheng Yi version" deleted all of them, just like cutting out a superfluous tumor, so that the writing becomes reasonable and unobstructed.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 14:50, 29 December 2021 (UTC)

==颜子涵 Yán Zǐhán 国别女 202120081538==
例三：原作第二十二回写荣国府作灯谜游戏，目的在于通过各人制作的灯谜，以暗示各自的性情、志向及将来结局，是全书的重要段落。大约因曹雪芹当时没有完全想好，故只写了贾母、贾政、元春、迎春、探春、惜春、宝钗的灯谜，而将宝玉、黛玉、湘云的灯谜暂缺，留待以后补写，不料曹雪芹突然去世，未及补写，致使原稿残缺。高鹗大胆地将原作宝钗的灯谜移作黛玉的灯谜，又增写了宝钗和宝玉的灯谜，我以为移得合理，增作也很精彩。

Example 3: the 22nd episode of the original work is that everyone plays lantern riddles in the Jung-guo-Anwesen ，The purpose is to hint their temperament, aspirations and future outcome through the lantern riddles made by each person，It is an important paragraph of the whole book. It may be that Cao Xueqin Autor didn't think well at that time, so he only wrote the riddles of Grandma Merchant, Master Merchant, First Spring Merchant, Spring Pleasure Merchant, Seeking-Spring Merchant, Cherishing Spring Merchant and Precious Hairpin Marshgrass, but didn't write the riddles of Precious Jade Merchant, Mascara Jade Forest and Fragrant-cloud History for the time being，and planned to fill them up later. Unexpectedly, Cao Xueqin Autor died suddenly and didn't have time to make up, resulting in the mutilation of the original. Gao E boldly changed the lantern riddle of Precious Hairpin Marshgrass into that of Mascara Jade Forest, and added the lantern riddles of Precious Hairpin Marshgrass and Precious Jade Merchant. I think this change is very reasonable and the added part is also very wonderful.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 01:31, 12 November 2021 (UTC)

Example 3: the 22nd chapter of the original work is that everyone plays lantern riddles in the Rong Mansion, The purpose is to hint their temperament, aspirations and future respectively through the lantern riddles made by each person，It is an important plot of the whole work.
Possibly because Cao Xueqin did not think well at that time, he only wrote the riddles of Grandma Merchant, Master Merchant, First Spring Merchant, Spring Pleasure Merchant, Seeking-Spring Merchant, Cherishing Spring Merchant and Precious Hairpin Marshgrass, but didn’t write the riddles of Precious Jade Merchant, Mascara Jade Forest and Fragrant-cloud History for the time being，and planned to fill them up later. Unexpectedly, Cao Xueqin died suddenly and didn’t have time to make up, resulting in the mutilation of the original. Gao E boldly changed the lantern riddle of Precious Hairpin Marshgrass into that of Mascara Jade Forest, and added the lantern riddles of Precious Hairpin Marshgrass and Precious Jade Merchant. I think this change is very reasonable and the added part is also very wonderful.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 07:58, 13 November 2021 (UTC)

==阳佳颖 Yáng Jiāyǐng 国别女 202120081540==
但高鹗也有失误和疏漏：失误在于删掉或漏掉了原作惜春的灯谜，疏漏在于未给湘云补写灯谜。惜春的灯谜我已补入第二十二回（参见该回原文及其注释），以弥补高鹗的失误；而湘云的灯谜却只好仍阙，成为永远的遗憾。例四：原作第二十五回在写王熙凤被魇魔法弄得精神错乱时，插入一段对薛蟠的描写：别人慌张自不必讲，独有薛蟠更比诸人忙到十分：又恐薛姨妈被人挤倒，又恐薛宝钗被人瞧见，又恐香菱被人臊皮──知道贾珍等是在女人身上做功夫的，因此忙的不堪。

However, Gao E also made some mistakes and omissions: the mistake lies in deleting or missing the original lantern riddles made by Cherishing Spring Merchant, and the omission lies in not rewriting the lantern riddles for Fragrant-cloud History. I have added the riddle of Spring-cherish Merchant in Chapter 22 to make up for Gao E’s mistake; But the lantern riddles of Fragrant-cloud History have yet to be unfilled, which becomes a permanent regret. Example 4: In chapter 25 of the original,When writing about Splendid Phoenix King being deranged by magic, a description of Dragon Marshgrass is inserted: The others, it goes without saying,were still more distraught. But of them all Dragon Marshgrass was the most frantic, being afraid that in the crush his mother might be knocked over, Precious Hairpin Marshgrass stared at, or Wiselotus Potterymaker exposed to indignities -- for he knew what libertines Treasure Merchant and the rest were.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 07:43, 13 November 2021 (UTC)

However, Gao E also made a mistake and had an oversight: the mistake lies in deleting or missing the original lantern riddles made by Cherishing Spring Merchant, and the omission lies in not rewriting the lantern riddles for Fragrant-cloud History. I already added the riddle of Spring-cherish Merchant in Chapter 22 to make up for Gao E’s mistake; But Fragrant-cloud History’s lantern riddles have yet to be unfilled, which becomes an eternal regret. Example 4: In chapter 25 of the original,When writing about Splendid Phoenix King being deranged by magic, a description of Dragon Marshgrass is inserted: The others, it goes without saying,were still more distraught. But of them all Dragon Marshgrass was the most frantic, being afraid that in the crush his mother might be knocked over, Precious Hairpin Marshgrass stared at, or Wiselotus Potterymaker exposed to indignities -- for he knew what libertines Treasure Merchant and the rest were.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 14:51, 13 November 2021 (UTC)

==杨爱江 Yáng Àijiāng 英语语言文学（语言学）女 202120081541==
忽一眼瞥见了林黛玉风流婉转，已酥倒在那里。这段话十分荒谬：其一，贾、薛两家为近亲，贾珍与薛宝钗是表兄妹，贾珍怎么敢对表妹起歹心呢？薛蟠岂非杞人忧天？其二，薛蟠虽然混账，与林黛玉也是表兄妹，况且见面的机会很多，薛蟠怎么会“一眼瞥见了林黛玉”就“酥倒在那里”呢？

Dragon Marshgrass's eye suddenly falling on Mascara Jade Forest, he was so enchanted by her charms that he almost melted on the spot. This paragraph is very absurd: First, Family Merchant and Family Marshgrass are close relatives, and Treasure Merchant and Precious Hairpin Marshgrass are cousins. How dare Treasure Merchant want to have a love affair with his cousin? Isn't Dragon Marshgrass entertained imaginary and groundless fear? Second, although Dragon Marshgrass is a jerk, Mascara Jade Forest is his cousin. Besides, there are many opportunities to meet Mascara Jade. How could Dragon Marshgrass“almost melted on the spot when his eye suddenly fell on Mascara Jade Forest”? --[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 09:44, 12 November 2021 (UTC)

Dragon Marshgrass suddenly caught a glimpse of Mascara Jade Forest, who was pretty and gentle, and collapsed there. This paragraph is very absurd: Firstly, Family Merchant and Family Marshgrass are close relatives, and Treasure Merchant and Precious Hairpin Marshgrass are cousins. How dare Treasure Merchant want to have a love affair with his cousin? Isn't Dragon Marshgrass alarmist? Secondly, although Dragon Marshgrass is a jerk, Mascara Jade Forest is his cousin. Besides, there are many opportunities to meet Mascara Jade. How could Dragon Marshgrass “collapsed there because of a glimpse of Mascara Jade Forest”?--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 14:15, 14 November 2021 (UTC)

==杨堃 Yáng Kūn 法语语言文学女 202120081542==
而脂批竟称赞道：“忙中写闲，真大手眼、大手笔。”这如果不是偶然失误，便只能说是不识好歹了。“程乙本”将其删除，倒可当得起“大手眼、大手笔”的评语。例五：原作第六十三回中用了一千多字的篇幅，大写贾宝玉、史湘云等人只是为了好玩，如何将芳官、葵官打扮成“小土番儿”，如何改称“犬戎名姓”。

However, the Zhi Yanzhai's critiques unexpectedly praised: "Snatch a little leisure from a busy writing , which is really big eyes and a big deal." If this is not an accidental mistake, it can only be said to be ungrateful. If "Cheng Yi version" deletes it, it can be regarded as a comment of "big eyes and a big deal". Example 5: in the sixty-third chapter of the original work, more than 1,000 words were used to capitalize the name of Precious Jade Merchant, Fragrant-cloud History and others, which is just for fun, and to describe how to dress Fragrant Official and Sunflower as "Xiao Tu Fan er" and how to change "the surname and name of Quan Rong".--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 14:21, 7 November 2021 (UTC)

However, critiques of Zhi Yanzhai(one of the earliest critics of "A Dream in Red Mansions" ) unexpectedly praised: "Snatch a little leisure from a busy writing , which is really weighty." If it is not an accidental mistake, it can only be said to be ungrateful. "Cheng Yi version" deletes it, thus it can be regarded as the comment of "weighty writings". Example 5: in the sixty-third chapter of the original work, more than 1,000 words were used to describe that how Precious Jade Merchant, Fragrant-cloud History and others dress Fang Guan and Kui Guan as "Xiao Tu Fan er" and how they change "the name of Quan Rong" just for fun.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 06:43, 8 November 2021 (UTC)

==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学）女 202120081543==
而且竟然让贾宝玉说出这样的话来：如今四海宾服，八方宁静，千载百载，不用武备。咱们虽一戏一笑，也该称颂，方不负坐享升平了。这种描写既十分无聊，又与贾宝玉的性格背道而驰，尤其侮辱了包括满族在内的少数民族，真可谓拙劣的文字，因此“程乙本”完全予以删除是绝对必要的。

What's more, in Zhi Yangzhai's version, Precious Jade Merchant said that"Nowadays, people within Four Seas were all submitted and social stability was achieved in all directions. Weapons were not needed in nearly thousands of years. Therefore, our laughs and teases also deserved extolling thus we lived up to the prosperity." This kind of descriptions were very boring and ran counter to the characteristics of Jia Baoyu, and they particularly insulted national minorities including Manchu, which were really bad writings. Thus, it's quite necessary for "Cheng Yi's version" to delete these words.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 07:05, 8 November 2021 (UTC)

What's more, in Zhi Yangzhai's version, Baoyu even said things like this:"Nowadays, people from all over the world bow to our emperor, and social stability's greatly achieved. No military preparation's needed in the days ahead. Therefore, our laughs and teases also deserved extolling thus we lived up to the prosperity." Such descriptions are boring and against Baoyu's characteristic, and also insulted national minorities including Manchu, which are truly awful writings. Thus, it's quite necessary for Cheng&Gao's second version to delete these words.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 06:07, 12 November 2021 (UTC)

==叶维杰 Yè Wéijié 国别男 202120081544==
例六：原作第六十一回开头有一段写柳家的与小厮斗嘴的文字，既毫无意义，又有“几根×毛”、“×声浪嗓”的粗话，故“程乙本”删掉了百馀字也完全正确。像这样的例子不胜枚举，它们足可以证明，高鹗对前八十回的修订是完全必要和合理的，“程乙本”前八十回优于原作的事实是任何人也难以抹煞的。其次，再就两种“程本”而言，由于“程乙本”是“程甲本”的修订本，自然也就更加完善。

Example six: The descriptive words about the argument between Liu's and his servant in the chapter sixty one of the original version are quite meaningless, and vulgarism like "some x hairs","some nasty voices" are also included at the same time，that's why the Cheng&Gao's second version had correctly deleted hundreds of words of the original one. Such examples are numerous and are solid proofs to the necessity and justifiability of Gao E's revision of original former eighty chapters, and it's also undeniable that former eighty chapters in the Cheng&Gao's second version are better than ones in the original. Moreover, in terms of the two versions of Cheng&Gao's, the second version is obviously more perfect for it's revised on the base of the first one.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 05:33, 12 November 2021 (UTC)

Example six: the original 61st back at the beginning of a paragraph to write the fighting words by Liu and his following boy, not only meaningless, but also "a few pubic hair", "obscene voice" of foul language, so "Cheng B book "deleted a few hundred words is also completely correct. Such examples are numerous, and they are sufficient to prove that the revision of the first eighty chapters by Gao Hu is completely necessary and reasonable, and the fact that the first eighty chapters of "Cheng B book" is better than the original is hard to be denied by anyone. Secondly, in terms of the two "Cheng books", since the "Cheng B book" is a revised version of the "Cheng A book", it is naturally more perfect.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 02:37, 12 November 2021 (UTC)Yi Yangfan

==易扬帆 Yì Yángfān 英语语言文学（英美文学）女 202120081545==
关于这一点，最有力的证据是一组现成的统计数字。前面说过，汪原放先生于1927年曾将“程乙本”与“程甲本”加以对勘，并将两者的异文作了统计，其结果是：“程乙本”较之“程甲本”改动(包括增与改)了总共21506字，其中前八十回改动15537字，后四十回改动5969字。(见汪原放《重印乾隆壬子本〈红楼梦〉校读后记》)这些改动主要有三个方面：其一，是对“程甲本”中的“纰缪”文字加以改正。

About this point, the strongest evidence is a set of readily available statistics. As mentioned earlier, Mr. Wang Yuanfang in 1927 compared the "Cheng B book" with the "Cheng A book" and made statistics on the differences between the two texts, and the result was: "Cheng B book" compared with "Cheng A book" changes (including increase and change) a total of 21506 words, including the first eighty chapters changed 15537 words, the last forty chapters changed 5969 words. (See Wang Yuanfang "reprinted Qianlong nonzi book" after reading "Dream of the Red Chamber") These changes are mainly in three aspects: one, is the "Cheng A book" in the "error" text to correct.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 02:38, 12 November 2021 (UTC)Yi Yangfan

The strongest evidence for this is a set of available statistics. As mentioned earlier, Mr. Wang Yuanfang in 1927 compared the "Cheng B book" with the "Cheng A book" and made statistics on the differences between the two texts, and the result was: a total of 21506 words (including complements and modifications) were changed in "Cheng B book" compared with "Cheng A book", including 15537 words changed in the first eighty chapters, and 5969 words changed in the last forty chapters. (Refer to Wang Yuanfang "reprinted Qianlong nonzi book" after reading "Dream of the Red Chamber") These changes are mainly in three aspects: one, is the modification of the "error" text in Cheng A book.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:03, 12 November 2021 (UTC)

==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学）女 202120081546==
如第二回“冷子兴演说荣国府”中，“程甲本”对原作的如下一段文字未作改动：这政老爷的夫人王氏……第二胎生了一位小姐，生在大年初一，就奇了。不想次年又生了一位公子，说来更奇：一落胞胎，嘴里便衔下一块五彩晶莹的玉来，还有许多字迹。这位“小姐”就是贾元春(元妃)，这位“公子”就是贾宝玉。

For example, the "Leng Zixing's speech in Rong Mansion" in chapter 2, "Cheng Jia's translation version" did not change the following text of the original work: The wife of Lord Zheng Mrs Wang…… gave birth to a girl on the first day of the lunar year,which was magical enough. It was even more magical that she gave birth to a boy in the next year: he was born with a colorful and crystal jade in his mouth, and the jade was written by some scripts. The "girl" is First Spring Merchant (Yuan Concubine), while the "boy" is Precious Jade Merchant.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 09:23, 8 November 2021 (UTC)

For example, in the "Son Happy Cold's speech in Glory Mansion" from chapter 2, the following text of the original work remained intact in "Cheng Jia(the first)edition": Lady King, the wife of Master Merchant …… gave birth to her second child, a girl, on the first day of the lunar year, which was magical enough. It was even more magical that she gave birth to a boy in the following year: when he was born, a colorful and crystal jade with many scripts on it was in his mouth. The "girl" is First Spring Merchant (Yuan Concubine), while the "boy" is Precious Jade Merchant.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 10:39, 11 November 2021 (UTC)

==殷美达 Yīn Měidá 英语语言文学（语言学）女 202120081547==
而这段文字显然与第十八回中的一段文字相矛盾：那宝玉未入学之先，三四岁时，已得元妃口传，教授了几本书，识了数千字在腹中：虽为姊弟，有如母子。
“有如母子”的贾元春和贾宝玉，不可能只差一岁，可见第二回那段文字有明显的“纰缪”。“程乙本”将“次年”改为“隔了十几年”，便合情合理了。

This paragraph obviously contradicts with the description in the eighteenth chapter: before Precious Jade,at the age of three or four, entered the school, he had been taught several books by Yuan Concubine(First Spring Merchant) by word of mouth and thus had known thousands of words in his mind. They are sister and brother in blood relation, but more like mother and son. Precious Jade Merchant and First Spring Merchant, "like mother and son",could not be only one year apart,so there is an obvious "mistake"in the paragraph from the second chapter. Therefore, it is reasonable to change "the following year" into "more than a decade after" in "Cheng Yi(the second) Edition".--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:28, 11 November 2021 (UTC)

While this paragraph obviously contradicts with one in the eighteenth chapter: before Precious Jade, at the age of three or four, entered the school, he had been taught several books by Yuan Concubine(First Spring Merchant) by word of mouth and thus had learned thousands of words in his mind. They are elder sister and younger brother, but more like mother and son. Precious Jade Merchant and First Spring Merchant could not be only one year apart,so there is an obvious "mistake" in the paragraph of the second chapter. Therefore, it is reasonable to change "the following year" into "more than a decade after" in "Cheng Yi(the second) Edition".--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 01:53, 12 November 2021 (UTC)

==尹媛 Yǐn Yuán 英语语言文学（英美文学）女 202120081548==
其二，是将文言词语尽量改为白话或俗语，从而使《红楼梦》的语言更为通俗易懂。譬如：“若”改为“要”，“与”改为“给”，“亦”改为“也”，“此”改为“这”，“口”改为“嘴”，“何”改为“为什么”，“如何”改为“怎么”，“如此”改为“这么着”，“葳蕤”改为“委琐”，等等。其三，是增加了许多“儿”字，将词语加以“儿”化，从而使《红楼梦》语言的京味特点更加突出。

Secondly, classical words were changed into vernacular or colloquial language as far as possible so as to make the language of A Dream of Red Mansions more understandable. For instance: "ruo" was translated into "yao"(if), "yu" into "yao"(to), "yi" into "ye"(also), "ci" into "zhe"(this), "kou" into "zui"(mouth),"he" into "wei shen me"(why), "ru he" into "zen me"(how), "ru ci" into "zhe me zhao"(in this way), "weisui" into "weisuo"(obscene) and so on. Thirdly, lots of "er" were added into A Dream of Red Mansions, so that the Beijing flavor of the language in A Dream of Red Mansions is more distinct.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 12:08, 10 November 2021 (UTC)

==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学）女 202120081549==
关于这一点，几乎随处可见，因而不再举例。《红楼梦》是一部近百万字的巨著，要想完全揭示“程乙本”的版本优点，只能将它与其他版本一一对勘，并将异文一一列出。单凭以上的简单说明，只能是挂一漏万。

This point can be seen almost everywhere, so I will not give examples. “Dream of the Red Chamber” is a masterpiece of nearly one million words. If we want to fully reveal the merits of "Cheng Yi's translation version", we can only investigate it with other translation versions and list the differences one by one. The above simple explanation is still incomplete and full of omissions.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 07:24, 10 November 2021 (UTC)
This point can be seen almost everywhere, so I don't want to give an example.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 05:25, 12 November 2021 (UTC)

==张秋怡 Zhāng Qiūyí 亚非语言文学女 202120081550==
不过我可以向读者负责地保证：如果你是出于欣赏的目的阅读《红楼梦》，那么选择“程乙本”将是最明智的。三、校勘问题我们说“程乙本”为《红楼梦》的最佳版本，并不是说它完美无缺，也不是说其他版本一概不如“程乙本”，只是说它在总体上更胜一筹而已。
But I can responsibly assure readers that if you are reading a Dream of Red Mansions for enjoyment, cheng Yiben is the wisest choice. To say that Cheng Yiben is the best version of a Dream of Red Mansions does not mean that it is perfect, nor that all other versions are inferior to Cheng Yiben, but that it is superior in general.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 05:23, 12 November 2021 (UTC)

But I can responsibly assure readers that if you are reading ''A Dream of Red Mansions'' for enjoyment, Cheng Yi version is the wisest choice. Three: Revision. To say that Cheng Yi version is the best version of ''A Dream of Red Mansions'' does not mean that it is perfect, nor that all other versions are inferior to Cheng Yi version, but that it is superior in general.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 13:42, 16 November 2021 (UTC)

==张扬 Zhāng Yáng 国别男 202120081551==
事实上，或因高鹗和程伟元的疏忽，或因排字工人的失误，致使“程乙本”仍存在不少“纰缪”。譬如：第八十六回说贾元春生于“甲申年正月丙寅”；至第九十五回则说：“是年甲寅年十二月十八日立春，元妃薨日是十二月十九日，已交卯年寅月，存年四十三岁。”“程甲本”和“程乙本”都是如此。

In fact, due to the negligence of Gao'e and Cheng Weiyuan, or the mistakes made by typesetters, there are still many "mistakes" in "Chengyi version". For example, the eighty-sixth chapter expounds that Jia Yuanchun was born in "Bingyin, the first month of the year Jiashen". To the 95th chapter it expounds that "In that year, the spring began on December 18th of the lunar calendar, Jiayin year, and the day consort Yuan died was on December 19, which was in the month of Yin and year of Mao. Hence consort Yuan died at the age of 43.", which are the same both in "Chengjia version" and "Chengyi version".--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 14:17, 8 November 2021 (UTC)

In fact, due to the negligence of Gao'e and Cheng Weiyuan, or the mistakes made by typesetters, there are still many "mistakes" in "Chengyi version". For example, the eighty-sixth chapter expounds that First Spring Merchant was born in "Bingyin, the first month of the year Jiashen". To the 95th chapter it expounds that "In that year, the spring began on December 18th of the lunar calendar, Jiayin year, and the day Princess Merchant died was on December 19, which was in the month of Yin and year of Mao. Hence consort Yuan died at the age of 43.", which are the same both in "Chengjia version" and "Chengyi version".

==张怡然 Zhāng Yírán 俄语语言文学女 202120081552==
而实际上前后存在明显矛盾：甲申年至甲寅年是三十年，按照当时以虚岁计算年龄的习惯，元妃享年应是三十一岁；即使因元妃薨于立春次日，算作乙卯年，也只有三十二岁。无论如何也不会是四十三岁。可见“程甲本”已错，而“程乙本”也没有订正。

In fact,there is clear contradiction:the years from JiaShen to JiaYin are thirty years, and according to the custom of calculating age in terms of nominal age at the time, Princess Merchant would have been thirty-one years old; even if the death of Princess Merchant took place on the day after the first day of spring, which is counted as the year yi Mao, she would have been only thirty-two years old. In any case, it would not have been forty-three years old. It is clear that the "Cheng Jia version" is wrong, and the "Cheng Yi version" has not been revised.

In fact,there is an obvious contradiction:the years from JiaShen to JiaYin are thirty years, and according to the custom of calculating age in terms of nominal age at the time, Princess Yuan would have been thirty-one years old; even if the death of Princess Yuan took place on the day after the first day of spring, which is counted as the year YiMao, she would have been only thirty-two years old. In any case, it would not have been forty-three years old. It is clear that the "Cheng Jia version" is wrong, and the "Cheng Yi version" has not been revised either.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 06:37, 8 November 2021 (UTC)

==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学）女 202120081553==
这个明显的失误，早在1927年由汪原放校点、亚东图书馆出版的“程乙本”《红楼梦》已经改正，而上世纪八十年代以后出版的诸多号称经过了“精校”的“程甲本”和“程乙本”《红楼梦》，包括那些拼凑本，却依旧保留了这个失误，这不能不说是一种讽刺。其实“程乙本”的其他文字失误还有不少，并非像高鹗、程伟元所说“改订无讹”。“程乙本”既非十全十美，而我们要供献于读者的是一部普及本的《红楼梦》，因此有必要汲取其他版本的长处，使其尽量完美。

This obvious mistake was corrected in “Cheng Yi Version" （a version of "A Dream of Red Mansions"） checked by Wang Yuanfang and published by Yadong library as early as 1927. It is ironic that many "Cheng Jia Version" and "Cheng Yi Version" published after the 1980s, including those patchwork books, still retain this mistake. In fact, there are many other word mistakes in "Cheng Yi Version", which is not “absolutely right after revision” as Gao E and Cheng Weiyuan said. "Cheng Yi Version" is not perfect, and what we want to offer to readers is a popular version of “A Dream of Red Mansions.” Therefore, it is necessary to learn from the advantages of other versions to make it as perfect as possible.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 14:22, 7 November 2021 (UTC)

This obvious mistake was corrected in “Cheng Yiben" （a version of "a dream of Red Mansions"） checked by Wang Yuanfang and published by Yadong Library as early as 1927. It is ironic that many "Cheng Jiaben" and "Cheng Yiben", which claimed carefully checked and published after the 1980s , including those patchwork books, still retain this mistake. In fact, there are many other word mistakes in "Cheng Yiben", which is not “absolutely right after revision” as Gao E and Cheng Weiyuan said. "Cheng Yiben" is not perfect, and what we want to offer to readers is a widespread version of “a dream of Red Mansions.” Therefore, it is necessary to learn from the advantages of other versions to make it as perfect as possible.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 02:05, 8 November 2021 (UTC)

==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学）女 202120081554==
为此，本书以“程乙本”(北京图书馆出版社影印本)为底本，以“程甲本”(北京图书馆出版社影印本)为主校本，并以下列版本为参校本：汪原放校勘“程乙本”(上海亚东图书馆刊本)、王希廉(雪香)评“程甲本”(清道光十二年刊本)、“梦稿本”“庚辰本”“己卯本”“甲戌本”(后四种均为上海古籍出版社影印本)。在以上八种版本中，前五种均为一百二十回全本，后三种均为前八十回的残存本。

For this purpose, this book uses “Cheng Yiben”(photocopy of Beijing Library Publishing House) as master copy, “Cheng Jiaben” as main collated edition, and the followings as references—Wang Yuanfang’s collation “Cheng Yiben”(Shanghai Yadong Library edition)、Wang Xilian’s “Cheng Jiaben” commentary(edition in the twelfth year of Qing Daoguang)、“Meng Gaoben”、“Geng Chenben”、“Ji Maoben”、and “Jia Xuben”(the last four all are photocopies of Shanghai Ancient Books Publishing House). In the above eight editions, the first five are all complete editions of 120 chapters, and the last three are all incomplete editions of 80 chapters.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 01:43, 8 November 2021 (UTC)

For this purpose, this book uses “Cheng Yiben”(photocopy of Beijing Library Publishing House) as the master copy, “Cheng Jiaben” as the main collated edition, and the followings as references—Wang Yuanfang’s collation of “Cheng Yiben”(Shanghai Yadong Library edition)、Wang Xilian’s comments on “Cheng Jiaben” (edition in the twelfth year of Qing Daoguang)、“Meng Gaoben”、“Geng Chenben”、“Ji Maoben”、and “Jia Xuben”(the last four all are photocopies of Shanghai Ancient Books Publishing House). In the above eight editions, the first five are all complete editions of 120 chapters, and the last three are all incomplete editions of 80 chapters.--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 05:57, 8 November 2021 (UTC)

==周玖 Zhōu Jiǔ 英语语言文学（英美文学）女 202120081555==
我的校勘总原则是：既要尽量保持底本的原貌，又要保证全书的质量。具体来说则遵循以下几条：（一）底本与校本之间虽有异文，但底本基本可通者，即使校本文字更好，也不作改动。（二）底本中的各种错误(包括内容与文字的错误)、文字倒置、文理不通等，尽量用校本改正，若校本同样错误则径改。

My primary principle of collation is that: maintain the original meaning of master copy, and garantee the quality through the book. Specifically, abiding by the following advice: One, although there are differences between the master copy and the checked copy, the former whose meaning is basically faithful and smooth remains untouched, even though the checked copy is better. Two: various mistakes in master copy（including errors in contents and text），the inversion of words, unsmooth words and contents and so forth should be corrected based on master copy. But if mistakes are also existed in the master copy, then it should be corrected directly.--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 12:43, 7 November 2021 (UTC)

My primary principle of collation is that: maintain the original meaning of master copy, and guarantee the book’s quality. To be more specific, following these advices: First, although there are differences between the master copy and the checked copy, the former whose meaning is basically faithful and smooth should be untouched, even though the checked copy is better. Second: various mistakes in master copy（including errors in contents and text), like the inversion of words, unsmooth words and contents and so forth should be corrected based on master copy. But if mistakes are also existed in the master copy, it should be corrected directly.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 06:46, 8 November 2021 (UTC)

==周俊辉 Zhōu Jùnhuī 法语语言文学女 202120081556==
（三）底本和校本中的僻字、怪字、俗字，本来并无特别意义，毫无保留价值，只能为读者增加阅读障碍，因此径改为通用字。如“揌”和“”改为“塞”，“嘴”改为“努嘴”，“椅子”改为“拿椅子”，等等。（四）古人对别字多不在乎，故底本和校本中屡见不鲜，但在当今的读者看来却十分别扭，甚至可能被误解，因而酌情径改。

Three, the rare words, strange words, common words in the master copy and in the checked copy had no special meaning, and no reservation value, can only increase the reading barrier for readers. So they need to be changed to universal words. Such as "揌" changed to “塞", "嘴" changed to "努嘴", "椅子" changed to "拿椅子", etc. Four, the ancients didn’t care about the wrongly written characters, so it is common in the master copy and the checked copy. They seem very awkward for today's readers and may even be misunderstood. Therefore they should be appropriately modified.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 14:12, 6 November 2021 (UTC)

（3）Some characters in a copy for the record or for reproduction and in checked copy, which are not commonly used, or look strange, or are popular but irregular, have no special significance and no reserved value, only increasing the reading barrier for readers. Therefore, these characters are changed to universal characters. For example, "揌" are changed to "塞", "嘴" is changed to "努嘴", "椅子" is changed to "拿椅子" and so on.（4） The ancients didn't care much about the wrongly written characters, so they can be commonly seen in a copy for the record or for reproduction and in checked copy. However, when seeing these characters, today’s readers may feel awkward, and may even misunderstand their meanings. Thus they are supposed to be changed for appropriateness.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 12:37, 7 November 2021 (UTC)

==周巧 Zhōu Qiǎo 英语语言文学（语言学）女 202120081557==
如“必真”改为“逼真”，“奈烦”改为“耐烦”，“悔气”改为“晦气”，“渥”改为“焐”，“握”改为“捂”，等等。（五）有些字在古代汉语中可以通用（借用），在现代汉语中却严加区分。《红楼梦》也存在大量借用字，如果一一加以改动，不一定合适。

For example, "必真" is changed to "逼真", "奈烦" is changed to "耐烦", "悔气" is changed to "晦气", "渥" is changed to "握 ", "焐" is changed to "捂" and so on. Some words can be commonly used (borrowed) in ancient Chinese, While in modern Chinese they are strictly distinguished. There are also a large number of loanwords in the A Dream of Red Mansions, which may not be appropriate if changed one by one.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:06, 6 November 2021 (UTC)

For instance, "必真" is changed to "逼真", "奈烦" is changed to "耐烦", "悔气" is changed to "晦气","渥" is changed to "握 ", "焐" is changed to "捂", etc. Wait. Some characters can be used (borrowed) in ancient Chinese, but they are strictly distinguished in modern Chinese. There are also a lot of borrowed words in "A Dream of Red Mansions". If you change them one by one, it may not be appropriate.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 11:44, 10 November 2021 (UTC)

==周清 Zhōu Qīng 法语语言文学女 202120081558==
因此只有在以下两种情况之下才作改动：一是可能引起误解；二是同一词语而用字不同。如等同于数字“一”的“么”，极易与“什么”、“怎么”的“么”相混，故改为“幺”。又如表示时间的“一会”和“一回”混用，“一会儿”和“一回儿”混用，统一为“一会”和“一会儿”；表示位置的“旁”和“傍”混用，“旁边”和“傍边”混用，统一为“旁”和“旁边”；“赔礼”和“陪礼”混用，“赔罪”和“陪罪”混用，统一为“赔礼”和“赔罪”；等等。

Therefore, changes should only be made in the following two situations: one is that it may cause misunderstanding; the other is the same phrase but different words. For example, the "么" equivalent to the number "一" is easily confused with the "么" of "什么" and "怎么", so it is changed to "幺". Another example is the mixed use of "一会" and "一回" for time, and "一会儿" and "一回儿" are mixed together, unified into "一会" and "一会儿";"旁" and "傍" to indicate position are mixed together, "旁边" and "傍边" are mixed together, unified into "旁" and "旁边"; "赔礼" and "陪礼" are mixed together, and "赔罪" and "陪罪" are mixed together , Unified into "赔礼" and "赔罪"; and so on.

Therefore, changes should only be made in the following two situations: one is that it may cause misunderstanding; the other is the same phrase formed by different words. For example, the "么" equivalent to the number "一" is easily confused with the "么" of "什么" and "怎么", so it is changed to "幺". Another example is the mixed use of "一会" and "一回" for time, and in case that "一会儿" and "一回儿" are mixed together, they are unified into "一会" and "一会儿"respectively ;"旁" and "傍" to indicating position are mixed together,and "旁边" and "傍边" are mixed together, so they are unified into "旁" and "旁边"; "赔礼" and "陪礼" are mixed together, and "赔罪" and "陪罪" are mixed together , so they are unified into "赔礼" and "赔罪"etc.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 09:49, 13 November 2021 (UTC)

==周小雪 Zhōu Xiǎoxuě 日语语言文学女 202120081559==
（六）本书采用简化汉字，为异体字的处理提供了方便，故一律按照简化汉字的规定处理。任何语言都在不断发展变化，故古今汉语有很大不同，以至于定字工作成为古籍整理中最为复杂的问题之一，很难做到尽善尽美。仅根据以上几条，只能是有助于减少读者的阅读障碍罢了。

(Six) Simplified Chinese characters are used in this book to provide convenience for the processing of variant characters. Therefore, they are processed in accordance with the provisions of simplified Chinese characters . Any language is constantly changing, so ancient and modern Chinese is very different. Therefore, deciding which word to use has become one of the most complex problems in the collection of ancient books, which is difficult to be perfect. Just according to the above, it can only help reduce the difficulties in their reading.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 13:59, 8 November 2021 (UTC)

==朱素珍 Zhū Sùzhēn 英语语言文学（语言学）女 202120081561==
为了节省篇幅，一律不出校文。四、注释问题 “注释”亦称“注解”，最初是由于经书文字艰涩难懂，故对经书的字句加以解释；如果注文仍旧难懂或未尽其义，再对注文加以解释，则称“疏”。注文和疏文合称则谓之“注疏”。

In order to save space, no proofread article will be published. Fourth,issues "explanatory note" is also called "annotation". At first, it explained the words and sentences of the Scriptures because the texts of the scriptures were difficult to understand; if the annotations were still difficult to understand or did not fully understand the meaning, then the annotations will be explained, it was called " sparse". The combination of Zhuwen and Shuwen is called "Notes and Shu".

In order to save space, no proofreading will be published. 4、 Annotation question "Annotation" is also called "Annotation".At first, the words in the Scriptures were difficult to understand,therefore, explain the words and sentences in the scriptures; If the annotation is still difficult to understand or does not fulfill its meaning, and then explain the annotation, it is called "sparse"--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 09:11, 30 December 2021 (UTC)

==邹岳丽 Zōu Yuèlì 日语语言文学女 202120081562==
后来逐步扩大范围，对一切文献中的疑难字句加以解释，均称之为“注释”。由于中国历史悠久，古今汉语及名物变化巨大，致使后人读古籍的困难越来越大，因此对古籍的注释也就显得越来越有必要。《红楼梦》虽是一部旧白话小说，但它汲取了诗、词、曲、赋、歌、诔等各种精华，又涉及谜语、酒令、建筑、服饰、珍禽异兽、奇花异卉、神话传说、名人秀女、琴棋书画、医卜星相、风俗礼仪等多种知识，白话文言间用，成语典故成堆。

Later, the scope was gradually expanded to explain the difficult words and sentences in all documents, which were called "notes". Due to China's long history and great changes in ancient and modern Chinese ,which makes it more and more difficult for future generations to read ancient books. Therefore, it is more and more necessary to annotate ancient books. Although 《The Dream of Red Mansion》 is an old vernacular novel,but it has absorbed all kinds of essences such as poetry, CI, Qu, Fu, song, and so on.It also involves riddles, wine orders, architecture, clothing, rare birds and animals, exotic flowers
Myths and Myths and legends, celebrities and beauties, Qin, chess, calligraphy and painting, medical divination of stars, customs and etiquette and other knowledge are used between vernacular and Idioms and allusions pile up.

==Nadia 202011080004==
对于一般读者来说，所有这些都可能是阅读中的绊脚石。

==Mahzad Heydarian 玛莎 202021080004==
本注释的使命就是为读者清除这些绊脚石，使阅读畅通无阻。

This annotation is meant to remove the barriers in reading and make it easier to read.

==Mariam toure 2020GBJ002301==
因此凡是我认为可能影响读者阅读的地方，便予以注释，决不假装视而不见，决不避难就易。

==Rouabah Soumaya 202121080001==
为了节省篇幅，我仅举一例。第五十六回“敏探春兴利除宿弊，贤宝钗小惠全大体”中，有贾探春与薛宝钗谈论经济的一段话：
In order to save space, I will give just one example. In the fifty-sixth chapter, "Min Tanchun prospering the benefits and eliminating the disadvantages, Xian Baochai and Xiaohui are all in general", there is a passage between Jia Tanchun and Xue Baochai discussing the economy:

==Muhammad Numan 202121080002==
宝钗笑道：“真真膏粱纨袴之谈。你们虽是千金，原不知道这些事。
Baochai smiled and said: "It's really tempting to talk about it. Although you--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 14:09, 6 November 2021 (UTC) are a daughter, you don't know these things.

==Muhammad Saqib Mehran 202121080004==
但只你们也都念过书，识过字的，竟没看见过朱夫子有一篇《不自弃文》么？”
But if you have all studied and read, haven't you seen Master Zhu's article "Don't Abandon Oneself"?

==Jawad Ahmad 202121080006==
探春笑道：“虽也看过，不过是勉人自励，虚比浮词，那里真是有的？”
Tanchun said and smile, "Although I have seen it, it's just a matter of encouraging others to encourage themselves. It's a meaningless word. Is there really something happen?"

==Nizam Uddin 202121080007==
宝钗道：“朱子都行了虚比浮词了？那句句都是有的。

==Öncü 202121080008==
你才办了两天事，就利欲熏心，把朱子都看虚浮了。
You have been working on it for two days only, and blinded by greed, you have made ZhuZi look vain.--[[User:HIKMET ONCU KADIOGLU|HIKMET ONCU KADIOGLU]] ([[User talk:HIKMET ONCU KADIOGLU|talk]]) 16:52, 6 November 2021 (UTC)

You have only been doing things for two days, then you desire for money and profit fascinated the heart, and you think Zhu Zi is Unrealistic. --[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 09:29, 8 November 2021 (UTC)Akira Jantarat

==Akira Jantarat 202121080009==
你再出去，见了那些利弊大事，越发连孔子也都看虚了呢！”

If you go to a larger world and see greater benefits or disadvantages, I am afraid you will be a little bit down on what Kongzi said.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 14:19, 6 November 2021 (UTC)Akira

If you go out again and see the pros and cons of major events, you will be even more deceptive!--[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:50, 7 November 2021 (UTC)

==Asep Budiman 202111080020==
探春笑道：“你这样一个通人，竟没看见《姬子》书？

Tan-tschun Smiled and said "you are such a familiar person, but have you read the "Ji Zi" book?--[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:41, 7 November 2021 (UTC)

Tan-tschun smiled and said: "You are such a familiar person, but haven't you read the book "Ji Zi"? --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 10:57, 7 November 2021 (UTC)Ei Mon Kyaw -Ei Mon Kyaw-[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 10:57, 7 November 2021 (UTC)

==Ei Mon Kyaw 202111080021==
当日《姬子》有云：‘登利禄之场，处运筹之界者，穷尧舜之词，背孔孟之道。’”

On that day, "Jizi" said: ‘The field of Deng Lilu, those who are in the realm of management, are poor in the words of Yao and Shun, and recite the way of Confucius and Mencius. ’"
--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 13:52, 6 November 2021 (UTC)EI MON KYAW
-EI MON KYAW-[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 13:52, 6 November 2021 (UTC)

There was a saying in ''Himeko'' that day: "Deng LiLu, and those who operate in this realm, steal the words of Yao and Shun, and memorize Confucianism."--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:38, 7 November 2021 (UTC)

==Benjamin Wellsand 202111080118==
宝钗笑道：“底下三句呢？”探春笑道：“如今断章取义，念出底下一句，我自己骂我自己不成？”

Bau-tschai smiled: "What about the next three sentences?" Tan-tschun smiled: "Now that I have read the next sentence out of context, can I blame myself for failing?"--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:39, 7 November 2021 (UTC)

Translation: Bau-tschai smiled: "What about the next three sentences?" Tan-tschun smiled: "Now I take the next sentence out of context, and if I read the next sentence out of context, I can't blame myself?"--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 11:20, 7 November 2021 (UTC)

==Atta Ur Rahman 202121080003==
在这段话中，提到了朱熹的《不自弃文》，还有《姬子》一书。

Translation: In this passage, Zhu Xi's "don't abandoned the text--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 14:13, 6 November 2021 (UTC)--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 14:13, 6 November 2021 (UTC)" and the book "Ji Zi" are mentioned.

==Zohaib Chand 202121080005==
我所看到的几个《红楼梦》注本，对《不自弃文》有所注释，而对《姬子》却避而不注。

I have read different annotations of ''A Dream in Red Mansions'', in which there are some explaination to ''No Self-surrender'' while no notes to ''Jizi''.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 08:21, 30 December 2021 (UTC)

Aesth App EN 1

2021-12-30T13:14:25Z

Zhu Suzhen:

Chapter [[Theor_App_Lit_EN_1]]

Criticism and Appreciation of Poetry Translation ——Taking ''A Psalm of Life'' as An Example=

诗歌翻译批评与鉴赏——以《人生礼赞》为例

朱素珍 Zhu Suzhen, 202120081561,Hunan Normal University, China
===摘要===
翻译诗歌并不难，一大批译者和作家为我们提供了无数优秀的诗歌译本。与诗歌翻译不同，诗歌翻译的批评和鉴赏要复杂得多。尽管诗歌翻译的批评和鉴赏很复杂，一些译者和批评家都投入其中，并取得了一些突破。郭沫若、闻一多、李明等译者提出了自己独特的、发人深省的诗歌翻译批评与鉴赏原则。这些原则在诗歌翻译的鉴赏中起着重要的作用。由于我们的生活和社会发生了巨大的变化，人们生活在一个高速发展的跨文化环境中。诗歌翻译的批评和欣赏是否有利于读者在跨文化背景下理解诗歌？对诗歌的批评和欣赏如何影响读者对于诗歌的理解？这些问题是本文的重点。本文作者主要通过对同一首诗的不同译本的比较分析来探讨诗歌翻译的批评与鉴赏——以亨利·沃兹沃思·朗费罗所著《生命礼赞》为例，通过对三个版本比较分析，可以一目了然地看到文化因素是否被考虑进去了。此外，读者在诗歌翻译批评与鉴赏的过程中，也能学会如何正确地翻译诗歌，这样的分析方法也有利于读者在跨文化背景下欣赏诗歌翻译，具有启发性。

===关键词===
诗歌翻译; 批评与鉴赏；比较分析; 跨文化背景

===Abstract===
It is not difficult to translate poetry, and large quantities of translators and writers have provided us uncountable excellent translations of poetry. Unlike poetry translation, the criticism and appreciation of poetry translation is far more complicated. Despite of the complexity of the cticism and appreciation of poetry translation, some of the translators and ctitics have devoted themselves to it, and some breakthroughs have been made. Translators like Guo Moruo, Wen Yiduo, Li Ming, etc put forward their unique and thought-provoking principles of criticism and appreciation of poetry translation. These principles play an important role in the appreciation of poetry translation.

Because of the great changes with our life and society, people live in a transcultural environment which develops in high speed.Is the criticism and appreciation of poetry translation conducive to the readers' understanding of the poetry in front of the transcultural background? How can criticism and appreciation of poetry influenced reader's understanding of poetry? These questions are the focus of this paper. The author of this paper would mainly discuss the criticism and appreciation of poetry translation based on the comparative analysis of different versions of translation of the same poetry——A Psalm of Life, written by Henry Wordsworth Long Fellow. After the comparative analysis of three versions, whether the cultural factor has been considered or not can be uncovered clearly. Furthermore, in the process of criticism and appreciation, readers can also learn how to translate the poetry properly. Besides, such a method of analysis is also conducive to readers' appreciation of poetry translation in front of the transcultural background, which is inspiring and instructive.

===Key words===
poetry translation; criticism and appreciation; comparative analysis; transcultural background

===1. Introduction===
Varieties of human emotions and feelings can be recorded and transmitted by the form of poetry, which is an essential part of human life. For China, poetry has played a special and crucial role since the ancient times, with Tang dynasty as its peak period of development. Due to the powerful emotional expressiveness of poetry, many poets have adopted this genre for literary creation, producing rich and colourful poetry culture. Piles of wonderful poems have appeared like mushrooms after the rain. Not only in China, universal and common for humankind, poetry was chosen by quantities of western poets including Percy Bysshe Shelley, Robert Burns, Emily Dickinson, etc.

According to Aristotle, literature should have the function of purifying people's minds (Catharsis), that is to say, to educate them. Poetry makes it possible for poets to imitate and express their feelings toward the world. When the readers are reading the poetry, they can feel the emotions of the poet, for example the happiness, the sadness, the love for the nature, etc. There are not only the positive poets, and there are also the nagative poets who expressed negative attitude towards the world. About such negative attitude, readers can criticize it. During the process of appreciation and criticism, their virtue can be promoted, so they can reach a higher level of morality. Opposed to Aristotle, in Plato’s opinion, poetry is the second removal from reality, and it is a great danger for the unity of philosophy. Moreover, the poets should be exiled, and there should be strict censorship for the publication of poetry. Different philosophers have different ideas about poetry. And different poets can create different kinds of poems with rich titles and versatile structures. (M. A. R. Habib, 2011:10-18)

Besides, people speaking in different language and living in exotic culture are capable to write the poetry that is special to them. Such special point is stemming from the difference of language and culture. People are not unfamiliar with Sapir Wolf’s Theory of Linguistic Relativity which put forward that language decides how people think. It is such a strong and even a little decisive theory. However, it at least uncovers the relationship between language and culture. It is understandable that language is to some extent reflects how people are thinking， and the thinking can further show the influence of culture in the process of communication. For example, in China, people would say” Have you eaten?” when they meet each other occasionally. But the Chinese are not intentionally asking whether the hearer has eaten or not, and they are only expressing a kind of greeting. (Dai Weidong, 2018:128)

Therefore, when the foreigners hearing such a sentence, they would get confused. This is a typical example showing the culture’s important role in communication. Except for the spoken communication, culture would also influence the translation of literary works, such as poetry, novel and play, etc. In the translation of poetry, a professional translator has to put the factor of culture into consideration well in order to achieve a high-quality translation effect. Actually, poetry cross-culture translation is always an inevitable issue for translation, especially today we are in a high-speed developing cross-culture Time, naturally how to appreciate the translation of poetry is of great importance. (Dai Weidong, 2018:130)

===2.The principles of poetry translation appreciation and criticism===

====2.1 What is poetry====

First, it is necessary for us to know what is poetry. Poetry is a kind of literary style that summarizes and reflects the social life. Chinese famous writer Cao Wenxuan once said before that different from the novel, poetry expresses people’s feeling, while novelists write novels that reflect people’s experience. Poetry is the synthesis of experience rather than the experience itself. However, novel presents experience itself and leaves the feelings of experience to reader. In other words, readers need to obtain the feelings of experience by themselves after reading the novel thoroughly. But the poetry conveys the feelings directly, and readers can enjoy the wonderful feelings while reading. Here is an interesting comment about the relationship between poetry and novel: novel describes an awesome house, but poetry presents only the feelings and interjective toward the house. (Li Ming, 2010: 134)

Besides Cao Wenxuan, American poet Frost also has his own unique definition of poetry: Poetry is what has lost in translation. From the perspective of translation, this sentence amply points out the awkwardness and helplessness. Second, it is important to know what is poetry translation appreciation and criticism. Before that, poetry translation should be firstly taken into consideration. Poetry is a synthesis of ideational feelings, situational image, rhymical tempo and internal expression style. Translation poetry should consider these aspects. Translators should strive to transmit the rhymical sound and the spiritual aspects of poetry when they are making the translation readable and easy to be understood. (Ning Huiqin，2009：34) (Li Ming, 2010: 203)

Moreover, the translation of poetry needs the poetic talents of translator. Just as what the famous writer Lao She said:” Translators who have poetic talents should try to translate poetry in the form of poetry, and they also need to make readers not only know the contents of the book but also the way in which how such contents were conveyed." Such comments just explain that besides the expression of meaning, making the original poetry’s style characteristics reoccurring is extremely significant.(Lao She, 1984: 131)

====2.2 Principles of poetry translation====

Now it is time to consider the principles of poetry translation. There is a saying that translation is difficult, especially the translation of literary works among which the poetry translation is far more difficult. This can be seen from the characteristic of poetry which resembles the peak of translation art, and the poetry translation needs to consider the beauty of meaning, sound and words. Therefore, the translation of poetry is a kind of sophisticated and integrate art. When it comes to the issue how to translate poetry, translators have their own unique opinions and perspectives. For example, Guo Moruo put forward the principle of “translating poetry with poetry”; Wen Yiduo supported the principle of “using the pen of poetry to translate poetry”.(Guo Moruo,1979:144)

Moreover, some other translators put forward that poetry translation has two principles. Principle one is that poetry translation should pay attention to avoid the commonization of language. That is to say if translators translate poetry with plain and common even inflexible words and expressions and ignore the unique characteristics of poetic language and the individual poet’s language characteristics, which would not only fail to keep the original poetry’s expressional style but also fail to convey the spiritual soul of the original poetry (Liao Siping, Zhang Yu, 2007: 53). The other principle prescribes that the poetry translation should avoid the nationalization of poetry form. For example, it would make the poetry translation neither fish nor fowl even vulgarization if we translate the foreign poetry into our Chinese neat and uniform poetry forms like a poem with five characters in a line or with seven characters in a line or even the folk song style compulsively (Liao Siping, Zhang Yu, 2007: 53-54)

Last but not least, poetry translation is a process of recreation. What does it mean? That is to say when translators are translating poetry, they not only need to maintain the original condition in which the poetry is written but also be able to be flexible appropriately. As for this point, Song Yinghao professor in Tai Wan, China once said that in the process of translation the translators need to be invisible. And he also supported the principles of “translating poetry with poetry”. Actually, after having a thorough understanding of what is poetry translation and some of the principles of poetry translation, it is not so difficult for us to understand that poetry is an organic synthesis. Poetry itself is a life body. Therefore, the translation of poetry also needs to be a “life body”, and translators have to make the vivid situations that occur in the original poetry reoccurring in the translation versions poetry.（Liao Siping, Zhang Yu, 2007: 53）

Now it is time to consider the principles of poetry translation. There is a saying that translation is difficult, especially the translation of literary works among which the poetry translation is far more difficult. This can be seen from the characteristic of poetry which resembles the peak of translation art, and the poetry translation needs to consider the beauty of meaning, sound and words. Therefore, the translation of poetry is a kind of sophisticated and integrate art. When it comes to the issue how to translate poetry, translators have their own unique opinions and perspectives. For example, Guo Moruo put forward the principle of “translating poetry with poetry”; Wen Yiduo supported the principle of “using the pen of poetry to translate poetry”.

Moreover, some other translators put forward that poetry translation has two principles. Principle one is that poetry translation should pay attention to avoid the commonization of language. That is to say if translators translate poetry with plain and common even inflexible words and expressions and ignore the unique characteristics of poetic language and the individual poet’s language characteristics, which would not only fail to keep the original poetry’s expressional style but also fail to convey the spiritual soul of the original poetry (Liao Siping, Zhang Yu, 2007: 53). The other principle prescribes that the poetry translation should avoid the nationalization of poetry form. For example, it would make the poetry translation neither fish nor fowl even vulgarization if we translate the foreign poetry into our Chinese neat and uniform poetry forms like a poem with five characters in a line or with seven characters in a line or even the folk song style compulsively (Liao Siping, Zhang Yu, 2007: 53-54)

====2.3 What is criticism and appreciation of poetry translation====

Later, there is no doubt that we need principles to prescribe our behavior of poetry translation criticism and appreciation . Some influential translators have put forward lots of meaningful poetry translation principles. Actually, the principles of poetry translation are one of the most important criteria of criticism and appreciation of poetry translation. Under the guidance of such principles the translators have the possibility to smooth the process of translation without losing the original amaze of the poetry. At the same time, these important principles can also be used to check if the translators have obeyed them or not. Thus, one of the ways in which the critics do the literary criticism occurs. By the way, translators' subjectivity can not be ignored at the same time. Because translation can be seen as a recreation process, thus the translators can make their subjectivity work in this process. Through the integrate consideration of the original poetry creation condition and the readers’ cultural background, translators are able to translate the poetry wonderfully thus making the purpose of transmitting culture and literature realized.(Xu Jun, 2009: 156)

====2.4 Principles of criticism and appreciation of poetry translation====

Later, there is no doubt that we need principles to prescribe our behavior of poetry translation appreciation and criticism. Some influential translators have put forward lots of meaningful poetry translation principles. Actually, the principles of poetry translation are one of the most important criteria of poetry translation appreciation and criticism. Under the guidance of such principles the translators have the possibility to smooth the process of translation without losing the original amaze of the poetry. At the same time, these important principles can also be used to check if the translators have obeyed them or not. Thus, one of the ways in which the critics do the literary criticism occurs. By the way, translator’s subjectivity can not be ignored at the same time. Because translation can be seen as a recreation process, thus the translators can make their subjectivity work in this process. Through the integrate consideration of the original poetry creation condition and the readers’ cultural background, translators are able to translate the poetry wonderfully thus making the purpose of transmitting culture and literature realized. (Zhou Yi & Luo Ping, 2005: 167)

===3.Comparative analysis of different translations of poetry===

In this part, it is necessary to make some comparative analysis between different versions of translation so as to do the poetry translation appreciation and criticism. As we all known, translation is also a process in which the translators try to recreate and translate. Translators are the creators at the same time. Because of their different culture background, educational background, their translation experience and some other factors, different translators can create different versions of poetry. Therefore, in this process we can experience how the translators construct and create the translation based on their embodied experience and professional quality.

It is not uncommon that the same poetry may have different versions of translation. And the appreciation of translation is to analyze how the translators translate it and why they would try to translate in such a way. At the same time, translation appreciation is not just a process to appreciate it, it is also a process to learn. Translation can be seen as a bridge that relates the reader and the writer in different language background. Without translation, it is impossible to transmit the beauty and amaze of literary works to more people, not less achieving a grandeur and multi-cultural literature feast. The translators are like the builder of the bridge, and their subjective factors including attitude, spirit as well as objective factors involving building method, the natural factors and so on are a unified system that would influence how the builders construct the bridge. It is believed that there are no best versions of translation, but better one. Therefore, the unlimited nature of translation makes it possible for us to make a comparison between kinds of versions, because there is no best translation but better one.

English poetry is like an endless sea in which different kind of poets devote themselves to the poetry creation. Because of the limited writing space, I will choose one of the famous and significant English poetries and its corresponding translation versions of Chinese. Then it is necessary to analyze the different aspects of the different translation versions of the same poetry. It is a common place that the same poetry can be translated into various versions. At this time, which version is better and the reasons need to be explained.
For example, a woman went to a shop to buy clothes. And she had tried so many dresses, shirts and blouses, etc. Then she needs criteria to help her decide which one she would like to buy. The criteria can be set by different people in various ways. But the woman is unique and she cannot be replaced by others, how about the clothes? Different clothes designers have different design rules and principles, and then we have such a colorful and multi-modal clothing world. Just like this, poetry translators are the clothing designers, and the different kinds of clothes resemble the various versions of translations. Like the cloth designers, the poetry translators have the right to recreate, but only on the basis of remaining the original colors and styles of the source poetry. Or it will make the poetry translations neither fish nor fowl. ( Li Ming, 2010: 204)

Let’s look at some examples of the poetry translation versions and try to make a comparative analysis between them. “A psalm of life” is the work of the excellent American Romanticism poet Henry Wordsworth Long Fellow. In 1839, Long Fellow published his first series of poems “Voice of the Night” in which the famous A Psalm of Life, A Psalm of Night were included. Long Fellow’s poems are elegant, plain and clear. His poems have greatly influenced American literature, and his poems were translated into more than twenty kinds of versions in different languages. In 'A Psalm of Life', Long Fellow praises life positively, which reflects the American people’s sound in the heart, and at that time, American capitalism has entered a period of vigorous development. According to Qian Zhongshu’s research, the Chinese version of ''A Psalm of Life'' is the first western poem being translated into Chinese. It was the Dong Xun, the Ministry of Revenue in Xian Feng period of the Qing dynasty, that first translated ''A Psalm of Life'' in the form of seven words in a line. However, the translation at that time was not so good, so it even aroused the old intellectuals’ contempt for western literature. Later, thanks to the appearance of new versions of translation of ''A Psalm of Life'', it widely circulated in China (Li Ming, 2010: 206-207).

Now let us try to analyze the different translation versions of ''A Psalm of Life''. First, let’s look at the original contents of this poem.

''A Psalm of Life''

Henry Wordsworth Long Fellow

Tell me not in mournful numbers,

Life is but an empty dream!

For the soul is dead that slumbers,

And things are not what they seem.

Life is real! Life is earnest!

And the grave is not its goal;

Dust thou art, to dust returnest,

Was not spoken of the soul.

Not enjoyment, and not sorrow,

Is our destined end or way;

But to act, that each tomorrow

Finds us farther than today.

Art is long, and time is fleeting,

And our hearts, though stout and brave,

Still, like muffled drums, are beating

Funeral marches to the grave.

In the world’s broad field of battle,

In the bivouac of life,

Be not like dumb, driven cattle!

Be a hero in the strife!

Trust no Future, howe’er pleasant!

Let the dead Past bury its dead!

Act—act in the living Present!

Heart within, and God’s o’erhead!

Lives of great men all remind us

We can make our lives sublime,

And, departing, leave behind us

Footprints on the sands of time;

Footprints that perhaps another,

Sailing o’er life’s solemn main,

A forlorn and shipwrecked brother,

Seeing, shall take heart again.

Let us, then, be up and doing,

With a heart for any fate;

Still achieving, still pursuing,

Learn to labour and to wait.

This poem is short but powerful with ample contents and lucid structure, showing readers strong emotional shock. The whole poem consists of nine stanzas, and each stanza has four verse lines, therefore, thirty-six lines in all. It can be divided into four parts to discuss the life in the eye of Long Fellow. The first two stanzas mainly correct the wrong and depraved argument that “life is but an empty dream”, and tell readers that “Life is real! Life is earnest!”

From the third stanza to the sixth stanza, Long Fellow discussed the issue that how to live life and suggest people act in the living present, which is the theme of this poetry. The seventh and the eighth stanza highlights the virtue and meaning of life. At the same time, the example of great people is used to encourage readers. Only the people who act in the living present can be remembered thus leaving footprints on the sands of time. This corresponds to what has been discussed in the second paragraph: Only the body will disappear, but not the soul of people. A person’s soul would be immortal because of the glory of life.

The last stanza are the summary and sublimation of the whole poetry. Long Fellow appeals to readers that they should act in the living present and be brave to confront the challenges in life. Finally, the poet summarizes the poetry with a thought-provoking sentence: “Still achieving, still pursuing.”, which corresponds to the subject of the poetry——acting in the living present. The poetry is full of the optimistic spirit and ample passion, and the poetry expresses the poet’s enthusiasm and pursuit of life as well as the positive and hardworking life attitude, criticizing the decadent attitude of life is but an empty dream.
Now let us see the Chinese versions of translations of A Psalm of Life. ( the author of this paper's analysis of ''A Psalm of Life'')

译文一：

'''生命的礼赞'''

别用悲伤的语调对我呻吟，

“人生不过是梦幻一场”！

因为沉睡中的灵魂已经死去，

万物并非它们显示的模样。

生命是真实的！生活是严肃的！

它们的终点决不是坟场；

“你来自尘土，必归于尘土”；

但这是指肉体，灵魂并未死亡。

我们注定的结局和道路，

既不是享乐，也不是悲伤；

而是行动，为了每一个明天，

使我们比今天走得更远更长。

艺术长久，韶光飞逝，

我们的心尽管英勇而坚强，

却仍像阵阵低沉的鼓声，

正朝着坟墓把哀乐敲响。

在世界辽阔的战场上，

在生命的露宿的营地上，

别作默默无声、任人驱使的牛羊，

要在战斗中当一名闯将！

莫信托未来，不管它怎样欢畅！

让逝去的岁月将死者埋葬！

行动吧，就在活着的此刻行动！

胸内有红心，头顶有上苍！

伟大的人物的生平把我们提醒，

我们能使我们的一生变得高尚，

在离开人间时，也能让足印

遗留在我们身后的时间的沙滩上。

呵，足印！也许另一位弟兄，

当他航行在生命庄严的海洋上，

不幸遇难，看见了这些足印，

他就会使勇气重新增长。

那么让我们振奋起来行动吧，

我们准备迎接任何命运的风浪；

永远要有所作为，不断追求，

学会劳动，也学会等待和期望。

（黄新渠译）

译文二

'''生之颂'''

别用悲切的诗句对我唱：

“人生只是虚幻的梦一场！”

因为昏睡的灵魂已死亡，

而事物不是看来那模样。

人生多真切！它绝非虚度！

一抔黄土哪里会是它的归宿；

“你来自泥尘，得重归泥尘，”

这句话所指的并不是灵魂。

我们命定的终点和道路

既不是享乐，也不是悲苦；

行动吧；要让每一个明天

发现我们比今天走得远。

学艺费光阴，时日去匆忙，

任我们的心勇敢又坚强，

依然像一些蒙住的鼓——

敲打着哀乐走向那坟墓。

在风云世界的广阔战场，

在人生征途的野宿营帐，

别像默默的牛羊任驱赶！

要争做英雄，能征惯战！

将来再美好也别空指望！

让死的过去把死的埋葬！

干！在活生生的现在就干！

胸中是赤心，上帝在云端！

伟人的生平向我们指出：

我们能使此生超群脱俗——

一朝逝去，时间的沙滩上

将留下我们的脚印行行。

在庄严的生活之海航行，

也许有兄弟会遭到不幸，

会因为航船沉没而绝望——

但见那脚印，又变得顽强。

让我们挺起身，行动起来，

凭对付任何的胸怀，

不断去收获，不断去追求；

永远在学着苦干和等候。

（黄杲忻译）

译文三

'''生之颂'''

莫向我吟唱，哀戚之词

叹生如梦境，虚无所炽

灵魂之沉睡，恍若长辞

而世间万物，伪装如缁

因孤坟荒土，非我命旨

因生之馥郁，真切如是

既生于尘滞，复归尘滞

而九天魂灵，长存如诗

决不为欢声，抑或悲思

我生之所往，道长如斯

集快马长剑，日日疾驰

待明日细数，功成如此

任艺业无涯，光阴飞逝

彼壮士之心，英勇无疵

奈战鼓哀亡，冢林墓石

怜其怨其殇，命魂所指

观我生所在，浮华乱世

观风云乾坤，辽阔如帜

斯牛羊傀儡，安得其实

唯浴血烽火，终成其事

纵欢娱无尽，未来未至

任亡者葬弃，过往已失

上苍行其道，我执其旨

即可启征铎，不枉今日

伟人之不朽，可为典示

倾我之所能，亦足至此

反肉身凡胎，终有一死

然我将留痕，流光之坻

望生命之海，风急浪蚀

念天行无常，苦难游子

而前人足迹，必将明示

纵满盘皆输，壮志不失

集生之全力，勿候勿止

有备则无惧，命运之矢

独精我所行，逐我所适

且耕且守望，丰收之时

（张瑶译）

First of all, in terms of the title, the first translation is a tribute to life, and the second translation uses the song of life. The topic of the second translation is concise and clear, and the writing style is more ancient. The translation is relatively easy to understand in terms of overall translation, and the language is relatively plain and life-oriented. The first sentence "Tell me not in mournful numbers", the three translations have their own emphasis, the first translation is "Don't whisper to me in a sad tone", the "tell" is translated as "低吟"; the second translation is "Tell" is translated as "唱"; the third translation is translated as "吟唱".

For "Life is but an empty dream", translators of the first and second translations both translated it as "Life is just an illusory dream", which basically achieves the effect of "expressing meaning", while the third translation is translated as "sorrowful words", the author believes that it is biased, because it does not convey the charm of "life is like a dream" in the original text, and it misses the meaning of dreams. In addition, the full text of the third translation is neatly aligned, and the rhythm is the same as the original. The first line and the third line are rhythmical, and the second and fourth lines are also rhythmical. This reproduces the style of the original text. In this aspect, translation one and translation two do not do so well. Translation two rhymes with the first and second lines; the third and the fourth lines rhyme also; version one hardly rhymes.

In the second stanza, the translation of "Life is real, life is earnest!" translates two "life" into "生命" and "生活" respectively. They are neatly opposed, but they may misinterpret the meaning of the original poem. Life is here. What exactly is meant needs to be carefully considered. In the second translation, "life" is translated as “人生", and "life is earnest!" is translated as "it is not in vain". This is a conversion of positive and negative translation, which surprises readers.
For “Dust thou art, to dust returnest, Was not spoken of the soul”, version one translated it as “你来自尘土，必将归于尘土，但这指的是肉体，灵魂并未死亡”，version one added the meaning of “it refers to the body”, making this sentence easier to be understood. Version three translated it as “既生于尘滞，复归尘滞，而九天魂灵，长存如诗“.In this translation, the translators thinks that human’s soul would not disappear, and it would last forever like poetry. However, we know that in Long Fellow’s opinion, human’s soul would remain immortal because of the glory of their life, but not because of the poetry. Therefore, here translation version three failed to convey the original meaning of the sentence. About the third paragraph, “But to act, that each tomorrow finds us father than today”, about this sentence, version two successfully maintain the original rhetorical device——personalization here, and translated it into” 要让每一个明天发现我们比今天走得远“.Version three writes that”集快马长剑，日日疾驰，待明日细数，功成如此“，which is too far away from the original text, and it cannot reoccur the amaze of the source poetry.

In the fourth stanza, “Art is long, and time is fleeting, And our hearts ……are beating Funeral marches to the grave.” Version one translated it as” 艺术长久，时光飞逝，我们的心尽管英勇而坚强“，version two translated it as “学艺费光阴，时日去匆忙，任我们的心勇敢又坚强”； translator in version three translated it as “任艺业无涯，光阴飞逝，彼壮士之心，英勇无疵”.From the sentence structure we can find that, the former two versions convey the original meaning better because we know that in this paragraph, here exists a comparison between the facts that our heart is brave and the facts that our heart is like a muffled drum which is beating funeral marches to the grave. Therefore, here should be words in the former part, here the words are “尽管“”任“. However, in the version three, the word”任” is used to decorate the ”art is long and time is fleeting.”, such transference actually has misinterpreted the meaning of the original text.

In the fifth stanza, “Be not like dumb, driven cattle! Be a hero in the strife!”, this sentence is translated into three different versions. Version one:”别作默默无声、任人驱使的牛羊，要在战斗中当一名闯将！”；Version two: “别作默默的牛羊任驱赶！要争取做英雄，能征惯战！”；Version three：“斯牛羊傀儡，安得其实，唯浴血烽火，终成其事”. Comparatively, version one is more flexible, because there is no limit in the number of the words in a line. But in version two, each line must have ten words, and in version three, each line has 8 words, which is set stable. Besides, version two and three separately added the external meaning of “能征惯战““终成其事”，but in the original text it is “Be a hero in the strife”, therefore, the two versions make some external decorations to the sentence.

In the sixth stanza, “Act—act in the living Present! Heart within, and God’s o’erhead!” version one goes that:”行动吧，就在活着的此刻行动！胸内有红心，头顶有上苍！”；version two goes that”干！在活生生的现在就干！胸中是赤心，上帝在云端！”；Translator in version three goes that”上苍行其道，我执其旨，即刻起征铎，不枉今日“；In the three versions, the former two versions are easier to understand, while the third one is more abstract because it transfers the role and function of “God”. Originally, God only is overhead, however, in version three, its function has changed, and also here the “act” is translated into”我行其旨”， which means that human’s action is actually obeying the hints of the God. This translation can better help readers understand why the poet put “God is overhead” here, which reflects the culture and religion of the western country, but in version one and two, such relationship is not so clear. All in all, the three versions have their own advantages and disadvantages, which are decided by the translators’ choice of expressions and their understanding of the poetry.

In the seventh stanza, “Lives of great men ……on the sands of time”, as for this sentence’s translation, version one goes that”伟大的人物的生平..我们也能使我们的一生变得高尚，在离开人间时，也能让足印……身后的时间的沙滩上” ；version two goes that“伟人的生平向我们指出：我们能使此生超群脱俗——一朝逝去，时间的沙滩上将留下脚印行行”；version three goes that“伟人之不朽，可为典示，倾我之所能，亦足至此，反肉身凡胎，终有一死，然我将留痕，流光之坻”；Similarly，the former two versions are more readable and easy to understand. However, the third version is far more beautiful and elegant, according to the principle that poetry translation is different from the daily conversation, and the expressions need to be elegant and beautiful. By enjoying the third translation, readers can fully and satisfactorily obtain the beauty and poet’s philosophic theory included in the poetry.

In the eighth stanza, “Footprints that perhaps another… Seeing, shall take heart again.”
Version one goes that“呵，足印！也许另一位弟兄，当他航行在生命庄严的海洋上，不幸遇难，看见了这些足印，他就会使勇气增长”；version two goes that“ 在庄严的生活之海航行，也许有兄弟会遭遇不幸，会因为航船沉没而绝望——但见那脚印，又变得顽强”； version three goes that “ 望生命之海，风急浪蚀，念天行无常，苦难游子，而前人足迹，必将明示，纵满盘皆输，壮志不失” These three translation versions have different effects upon readers. Version one did not translate the “shipwrecked” directly as “航船沉没“， but rather translated it as “不幸遇难”，which is actually more concise than version two”遭遇不幸，会因为航船沉没而绝望“. The three versions successfully achieve the effect of metaphor and translated it into”生命之海”,which can make the meaning of the original text more clear and vivid. Besides, the version three adds some special Chinese expressions such as “满盘皆输”“壮志不失”“苦难游子”“天行无常”， which are easy to understand for Chinese readers, however, it is not so easy for the other language speaking readers, so it is better to add some annotation in order to smooth the understanding.

In the ninth stanza, the poet summarize and sublime the theme of the poetry with “Still achieving, still pursuing, learn to labour and to wait.” Version one goes that”永远要有所作为，不断追求，学会劳动，也学会等待和期望。”；version two goes that“不断去收获，不断去追求；永远在学着苦干和等候。”；version three goes that “独精我所行，逐我所适，且耕且守望，丰收之时”. In version one, the word “labour” is translated as “劳动”,which is not so appropriate exactly. Version two translated it as“苦干”，and this is better because it is corresponding to the theme of this poetry——keeping acting in the living present. Version three, however, translated it into”耕“，which has the cultural meaning for readers. In China, “耕”means labour, and it is easy to understand.

===4. Conclusion===

Criticism and appreciation of poetry translation, just like poetry translation, it needs various principles to support it. Before you can make the poetry translation appreciation and criticism, it is necessary for you to know what is poetry and what are the principles of poetry translation. Various translators put forward different poetry writing and translating principles, which are also helpful for critics to appreciate the poetry translation.

The three versions of translation of ''A Psalm of Life'' successfully convey the meaning of the whole poetry to some extent, however, different versions have some differences in some detailed sentences because of the translator's different cultural backgrounds and translation strategies their respective translator chose. However, there is no doubt that the three are good translations, and they greatly help readers understand the original text better. In the process of appreciation and criticism, people can also learn how to translate poetry better, and this is a process of mutual promotion. Last but not least, the comparative analysis of different translations of poems is conducive for reader's understanding towards poems in front of the transcultural background. However, about criticism and appreciation of poetry translation, much more efforts are needed to explore more important methods of criticism and appreciation. There is still a long way to go.

===5. References===

M. A. R. Habib (2011). Literary Criticism from Plato to the Present [M]. Wiley-Blackwell A John Wiley & Sons, Inc, Publication.

Huang Gaoxin 黄杲炘（1986）. 英国抒情诗100首 100 British Lyrics [M]. 上海译文出版社. Shanghai Translation Press.

Lao She 老舍（1984）. 谈翻译 About Translation [A]. 翻译研究论文集 Collection of Essays on Translation Research [C]. 北京 Peking: 外语教学与研究社 Foreign Language Pedagogy and Research Press.

Li Ming 李明（2010）. 翻译批评与鉴赏 [M]. Transaction Criticism and Appreciation. 武汉 Wuhan: 武汉大学出版社 Wuhan University Press.

Liao Siping, Zhang Yu (2007). 用心和眼睛传递诠释灵魂的艺术——袁可嘉的外国诗歌翻译 [J]. Delivering and interpreting the art of soul with heart and eyes—Yuan Kejia's Translation of Foreign Poems[J]. 中国翻译 China Translation.

Ning Huiqin 宁会勤（2009）. 从《多佛海岸》浅析诗歌翻译 [J]. Analysis of Poetry Translation from ''Dover Strait'' [J]. 读与写杂志 Journal of Reading and Writing.

Yang Xiaorong 杨晓荣（2005）. 翻译批评导论 [M]. Introduction to Translation Criticism [M]. 北京 Peking: 中国对外出版翻译公司 China Foreign Publishing and Translation Corporation.

Xu Jun 许钧（2009）. 翻译概论 [M]. Introduction to Translation [M]. 北京 Peking: 外语教学与研究出版社 Foreign Language Pedagogy and Research Press.

Zhou Yi & Luo Ping (2005). 翻译与批评 [M]. Translation and Criticism [M]. 武汉 Wuhan: 湖北教育出版社 Hubei Education Press.

Guo Moruo 郭沫若（1979）. 讨论注释运动及其他 [M]. Discuss annotation campaigns and others [M]. 重庆 Chong Qing: 西南人民出版社 Southwest People's Press.

Dai Weidonf 戴炜栋（2018）. 新编简明英语语言学教程 [M]. A New Concise Course in Linguistics for Students of English [M]. 上海 Shanghai: 上海外语教育出版社 Shanghai Foreign Language Education Press.

Aesth App EN 1

2021-12-30T13:07:36Z

Zhu Suzhen: /* 1 Criticism and Appreciation of Poetry Translation ——Taking A Psalm of Life as An Example */

Quicklink back to the overview page [[Translation Theories Applied to Literary Translations|Overview Page of Translation Theories Applied to Literary Translations]]

Chapter [[Theor_App_Lit_EN_1]]

===1. Introduction===
Varieties of human emotions and feelings can be recorded and transmitted by the form of poetry, which is an essential part of human life. For China, poetry has played a special and crucial role since the ancient times, with Tang dynasty as its peak period of development. Due to the powerful emotional expressiveness of poetry, many poets have adopted this genre for literary creation, producing rich and colourful poetry culture. Piles of wonderful poems have appeared like mushrooms after the rain. Not only in China, universal and common for humankind, poetry was chosen by quantities of western poets including Percy Bysshe Shelley, Robert Burns, Emily Dickinson, etc.

According to Aristotle, literature should have the function of purifying people's minds (Catharsis), that is to say, to educate them. Poetry makes it possible for poets to imitate and express their feelings toward the world. When the readers are reading the poetry, they can feel the emotions of the poet, for example the happiness, the sadness, the love for the nature, etc. There are not only the positive poets, and there are also the nagative poets who expressed negative attitude towards the world. About such negative attitude, readers can criticize it. During the process of appreciation and criticism, their virtue can be promoted, so they can reach a higher level of morality. Opposed to Aristotle, in Plato’s opinion, poetry is the second removal from reality, and it is a great danger for the unity of philosophy. Moreover, the poets should be exiled, and there should be strict censorship for the publication of poetry. Different philosophers have different ideas about poetry. And different poets can create different kinds of poems with rich titles and versatile structures. (M. A. R. Habib, 2011:10-18)

Besides, people speaking in different language and living in exotic culture are capable to write the poetry that is special to them. Such special point is stemming from the difference of language and culture. People are not unfamiliar with Sapir Wolf’s Theory of Linguistic Relativity which put forward that language decides how people think. It is such a strong and even a little decisive theory. However, it at least uncovers the relationship between language and culture. It is understandable that language is to some extent reflects how people are thinking， and the thinking can further show the influence of culture in the process of communication. For example, in China, people would say” Have you eaten?” when they meet each other occasionally. But the Chinese are not intentionally asking whether the hearer has eaten or not, and they are only expressing a kind of greeting. (Dai Weidong, 2018:128)

Therefore, when the foreigners hearing such a sentence, they would get confused. This is a typical example showing the culture’s important role in communication. Except for the spoken communication, culture would also influence the translation of literary works, such as poetry, novel and play, etc. In the translation of poetry, a professional translator has to put the factor of culture into consideration well in order to achieve a high-quality translation effect. Actually, poetry cross-culture translation is always an inevitable issue for translation, especially today we are in a high-speed developing cross-culture Time, naturally how to appreciate the translation of poetry is of great importance. (Dai Weidong, 2018:130)

===2.The principles of poetry translation appreciation and criticism===

====2.1 What is poetry====

First, it is necessary for us to know what is poetry. Poetry is a kind of literary style that summarizes and reflects the social life. Chinese famous writer Cao Wenxuan once said before that different from the novel, poetry expresses people’s feeling, while novelists write novels that reflect people’s experience. Poetry is the synthesis of experience rather than the experience itself. However, novel presents experience itself and leaves the feelings of experience to reader. In other words, readers need to obtain the feelings of experience by themselves after reading the novel thoroughly. But the poetry conveys the feelings directly, and readers can enjoy the wonderful feelings while reading. Here is an interesting comment about the relationship between poetry and novel: novel describes an awesome house, but poetry presents only the feelings and interjective toward the house. (Li Ming, 2010: 134)

Besides Cao Wenxuan, American poet Frost also has his own unique definition of poetry: Poetry is what has lost in translation. From the perspective of translation, this sentence amply points out the awkwardness and helplessness. Second, it is important to know what is poetry translation appreciation and criticism. Before that, poetry translation should be firstly taken into consideration. Poetry is a synthesis of ideational feelings, situational image, rhymical tempo and internal expression style. Translation poetry should consider these aspects. Translators should strive to transmit the rhymical sound and the spiritual aspects of poetry when they are making the translation readable and easy to be understood. (Ning Huiqin，2009：34) (Li Ming, 2010: 203)

Moreover, the translation of poetry needs the poetic talents of translator. Just as what the famous writer Lao She said:” Translators who have poetic talents should try to translate poetry in the form of poetry, and they also need to make readers not only know the contents of the book but also the way in which how such contents were conveyed." Such comments just explain that besides the expression of meaning, making the original poetry’s style characteristics reoccurring is extremely significant.(Lao She, 1984: 131)

====2.2 Principles of poetry translation====

Now it is time to consider the principles of poetry translation. There is a saying that translation is difficult, especially the translation of literary works among which the poetry translation is far more difficult. This can be seen from the characteristic of poetry which resembles the peak of translation art, and the poetry translation needs to consider the beauty of meaning, sound and words. Therefore, the translation of poetry is a kind of sophisticated and integrate art. When it comes to the issue how to translate poetry, translators have their own unique opinions and perspectives. For example, Guo Moruo put forward the principle of “translating poetry with poetry”; Wen Yiduo supported the principle of “using the pen of poetry to translate poetry”.(Guo Moruo,1979:144)

Moreover, some other translators put forward that poetry translation has two principles. Principle one is that poetry translation should pay attention to avoid the commonization of language. That is to say if translators translate poetry with plain and common even inflexible words and expressions and ignore the unique characteristics of poetic language and the individual poet’s language characteristics, which would not only fail to keep the original poetry’s expressional style but also fail to convey the spiritual soul of the original poetry (Liao Siping, Zhang Yu, 2007: 53). The other principle prescribes that the poetry translation should avoid the nationalization of poetry form. For example, it would make the poetry translation neither fish nor fowl even vulgarization if we translate the foreign poetry into our Chinese neat and uniform poetry forms like a poem with five characters in a line or with seven characters in a line or even the folk song style compulsively (Liao Siping, Zhang Yu, 2007: 53-54)

Last but not least, poetry translation is a process of recreation. What does it mean? That is to say when translators are translating poetry, they not only need to maintain the original condition in which the poetry is written but also be able to be flexible appropriately. As for this point, Song Yinghao professor in Tai Wan, China once said that in the process of translation the translators need to be invisible. And he also supported the principles of “translating poetry with poetry”. Actually, after having a thorough understanding of what is poetry translation and some of the principles of poetry translation, it is not so difficult for us to understand that poetry is an organic synthesis. Poetry itself is a life body. Therefore, the translation of poetry also needs to be a “life body”, and translators have to make the vivid situations that occur in the original poetry reoccurring in the translation versions poetry.（Liao Siping, Zhang Yu, 2007: 53）

Now it is time to consider the principles of poetry translation. There is a saying that translation is difficult, especially the translation of literary works among which the poetry translation is far more difficult. This can be seen from the characteristic of poetry which resembles the peak of translation art, and the poetry translation needs to consider the beauty of meaning, sound and words. Therefore, the translation of poetry is a kind of sophisticated and integrate art. When it comes to the issue how to translate poetry, translators have their own unique opinions and perspectives. For example, Guo Moruo put forward the principle of “translating poetry with poetry”; Wen Yiduo supported the principle of “using the pen of poetry to translate poetry”.

Moreover, some other translators put forward that poetry translation has two principles. Principle one is that poetry translation should pay attention to avoid the commonization of language. That is to say if translators translate poetry with plain and common even inflexible words and expressions and ignore the unique characteristics of poetic language and the individual poet’s language characteristics, which would not only fail to keep the original poetry’s expressional style but also fail to convey the spiritual soul of the original poetry (Liao Siping, Zhang Yu, 2007: 53). The other principle prescribes that the poetry translation should avoid the nationalization of poetry form. For example, it would make the poetry translation neither fish nor fowl even vulgarization if we translate the foreign poetry into our Chinese neat and uniform poetry forms like a poem with five characters in a line or with seven characters in a line or even the folk song style compulsively (Liao Siping, Zhang Yu, 2007: 53-54)

====2.3 What is criticism and appreciation of poetry translation====

Later, there is no doubt that we need principles to prescribe our behavior of poetry translation criticism and appreciation . Some influential translators have put forward lots of meaningful poetry translation principles. Actually, the principles of poetry translation are one of the most important criteria of criticism and appreciation of poetry translation. Under the guidance of such principles the translators have the possibility to smooth the process of translation without losing the original amaze of the poetry. At the same time, these important principles can also be used to check if the translators have obeyed them or not. Thus, one of the ways in which the critics do the literary criticism occurs. By the way, translators' subjectivity can not be ignored at the same time. Because translation can be seen as a recreation process, thus the translators can make their subjectivity work in this process. Through the integrate consideration of the original poetry creation condition and the readers’ cultural background, translators are able to translate the poetry wonderfully thus making the purpose of transmitting culture and literature realized.(Xu Jun, 2009: 156)

====2.4 Principles of criticism and appreciation of poetry translation====

Later, there is no doubt that we need principles to prescribe our behavior of poetry translation appreciation and criticism. Some influential translators have put forward lots of meaningful poetry translation principles. Actually, the principles of poetry translation are one of the most important criteria of poetry translation appreciation and criticism. Under the guidance of such principles the translators have the possibility to smooth the process of translation without losing the original amaze of the poetry. At the same time, these important principles can also be used to check if the translators have obeyed them or not. Thus, one of the ways in which the critics do the literary criticism occurs. By the way, translator’s subjectivity can not be ignored at the same time. Because translation can be seen as a recreation process, thus the translators can make their subjectivity work in this process. Through the integrate consideration of the original poetry creation condition and the readers’ cultural background, translators are able to translate the poetry wonderfully thus making the purpose of transmitting culture and literature realized. (Zhou Yi & Luo Ping, 2005: 167)

===3.Comparative analysis of different translations of poetry===

In this part, it is necessary to make some comparative analysis between different versions of translation so as to do the poetry translation appreciation and criticism. As we all known, translation is also a process in which the translators try to recreate and translate. Translators are the creators at the same time. Because of their different culture background, educational background, their translation experience and some other factors, different translators can create different versions of poetry. Therefore, in this process we can experience how the translators construct and create the translation based on their embodied experience and professional quality.

It is not uncommon that the same poetry may have different versions of translation. And the appreciation of translation is to analyze how the translators translate it and why they would try to translate in such a way. At the same time, translation appreciation is not just a process to appreciate it, it is also a process to learn. Translation can be seen as a bridge that relates the reader and the writer in different language background. Without translation, it is impossible to transmit the beauty and amaze of literary works to more people, not less achieving a grandeur and multi-cultural literature feast. The translators are like the builder of the bridge, and their subjective factors including attitude, spirit as well as objective factors involving building method, the natural factors and so on are a unified system that would influence how the builders construct the bridge. It is believed that there are no best versions of translation, but better one. Therefore, the unlimited nature of translation makes it possible for us to make a comparison between kinds of versions, because there is no best translation but better one.

English poetry is like an endless sea in which different kind of poets devote themselves to the poetry creation. Because of the limited writing space, I will choose one of the famous and significant English poetries and its corresponding translation versions of Chinese. Then it is necessary to analyze the different aspects of the different translation versions of the same poetry. It is a common place that the same poetry can be translated into various versions. At this time, which version is better and the reasons need to be explained.
For example, a woman went to a shop to buy clothes. And she had tried so many dresses, shirts and blouses, etc. Then she needs criteria to help her decide which one she would like to buy. The criteria can be set by different people in various ways. But the woman is unique and she cannot be replaced by others, how about the clothes? Different clothes designers have different design rules and principles, and then we have such a colorful and multi-modal clothing world. Just like this, poetry translators are the clothing designers, and the different kinds of clothes resemble the various versions of translations. Like the cloth designers, the poetry translators have the right to recreate, but only on the basis of remaining the original colors and styles of the source poetry. Or it will make the poetry translations neither fish nor fowl. ( Li Ming, 2010: 204)

Let’s look at some examples of the poetry translation versions and try to make a comparative analysis between them. “A psalm of life” is the work of the excellent American Romanticism poet Henry Wordsworth Long Fellow. In 1839, Long Fellow published his first series of poems “Voice of the Night” in which the famous A Psalm of Life, A Psalm of Night were included. Long Fellow’s poems are elegant, plain and clear. His poems have greatly influenced American literature, and his poems were translated into more than twenty kinds of versions in different languages. In 'A Psalm of Life', Long Fellow praises life positively, which reflects the American people’s sound in the heart, and at that time, American capitalism has entered a period of vigorous development. According to Qian Zhongshu’s research, the Chinese version of ''A Psalm of Life'' is the first western poem being translated into Chinese. It was the Dong Xun, the Ministry of Revenue in Xian Feng period of the Qing dynasty, that first translated ''A Psalm of Life'' in the form of seven words in a line. However, the translation at that time was not so good, so it even aroused the old intellectuals’ contempt for western literature. Later, thanks to the appearance of new versions of translation of ''A Psalm of Life'', it widely circulated in China (Li Ming, 2010: 206-207).

Now let us try to analyze the different translation versions of ''A Psalm of Life''. First, let’s look at the original contents of this poem.

''A Psalm of Life''

Henry Wordsworth Long Fellow

Tell me not in mournful numbers,

Life is but an empty dream!

For the soul is dead that slumbers,

And things are not what they seem.

Life is real! Life is earnest!

And the grave is not its goal;

Dust thou art, to dust returnest,

Was not spoken of the soul.

Not enjoyment, and not sorrow,

Is our destined end or way;

But to act, that each tomorrow

Finds us farther than today.

Art is long, and time is fleeting,

And our hearts, though stout and brave,

Still, like muffled drums, are beating

Funeral marches to the grave.

In the world’s broad field of battle,

In the bivouac of life,

Be not like dumb, driven cattle!

Be a hero in the strife!

Trust no Future, howe’er pleasant!

Let the dead Past bury its dead!

Act—act in the living Present!

Heart within, and God’s o’erhead!

Lives of great men all remind us

We can make our lives sublime,

And, departing, leave behind us

Footprints on the sands of time;

Footprints that perhaps another,

Sailing o’er life’s solemn main,

A forlorn and shipwrecked brother,

Seeing, shall take heart again.

Let us, then, be up and doing,

With a heart for any fate;

Still achieving, still pursuing,

Learn to labour and to wait.

This poem is short but powerful with ample contents and lucid structure, showing readers strong emotional shock. The whole poem consists of nine stanzas, and each stanza has four verse lines, therefore, thirty-six lines in all. It can be divided into four parts to discuss the life in the eye of Long Fellow. The first two stanzas mainly correct the wrong and depraved argument that “life is but an empty dream”, and tell readers that “Life is real! Life is earnest!”

From the third stanza to the sixth stanza, Long Fellow discussed the issue that how to live life and suggest people act in the living present, which is the theme of this poetry. The seventh and the eighth stanza highlights the virtue and meaning of life. At the same time, the example of great people is used to encourage readers. Only the people who act in the living present can be remembered thus leaving footprints on the sands of time. This corresponds to what has been discussed in the second paragraph: Only the body will disappear, but not the soul of people. A person’s soul would be immortal because of the glory of life.

The last stanza are the summary and sublimation of the whole poetry. Long Fellow appeals to readers that they should act in the living present and be brave to confront the challenges in life. Finally, the poet summarizes the poetry with a thought-provoking sentence: “Still achieving, still pursuing.”, which corresponds to the subject of the poetry——acting in the living present. The poetry is full of the optimistic spirit and ample passion, and the poetry expresses the poet’s enthusiasm and pursuit of life as well as the positive and hardworking life attitude, criticizing the decadent attitude of life is but an empty dream.
Now let us see the Chinese versions of translations of A Psalm of Life. ( the author of this paper's analysis of ''A Psalm of Life'')

译文一：

'''生命的礼赞'''

别用悲伤的语调对我呻吟，

“人生不过是梦幻一场”！

因为沉睡中的灵魂已经死去，

万物并非它们显示的模样。

生命是真实的！生活是严肃的！

它们的终点决不是坟场；

“你来自尘土，必归于尘土”；

但这是指肉体，灵魂并未死亡。

我们注定的结局和道路，

既不是享乐，也不是悲伤；

而是行动，为了每一个明天，

使我们比今天走得更远更长。

艺术长久，韶光飞逝，

我们的心尽管英勇而坚强，

却仍像阵阵低沉的鼓声，

正朝着坟墓把哀乐敲响。

在世界辽阔的战场上，

在生命的露宿的营地上，

别作默默无声、任人驱使的牛羊，

要在战斗中当一名闯将！

莫信托未来，不管它怎样欢畅！

让逝去的岁月将死者埋葬！

行动吧，就在活着的此刻行动！

胸内有红心，头顶有上苍！

伟大的人物的生平把我们提醒，

我们能使我们的一生变得高尚，

在离开人间时，也能让足印

遗留在我们身后的时间的沙滩上。

呵，足印！也许另一位弟兄，

当他航行在生命庄严的海洋上，

不幸遇难，看见了这些足印，

他就会使勇气重新增长。

那么让我们振奋起来行动吧，

我们准备迎接任何命运的风浪；

永远要有所作为，不断追求，

学会劳动，也学会等待和期望。

（黄新渠译）

译文二

'''生之颂'''

别用悲切的诗句对我唱：

“人生只是虚幻的梦一场！”

因为昏睡的灵魂已死亡，

而事物不是看来那模样。

人生多真切！它绝非虚度！

一抔黄土哪里会是它的归宿；

“你来自泥尘，得重归泥尘，”

这句话所指的并不是灵魂。

我们命定的终点和道路

既不是享乐，也不是悲苦；

行动吧；要让每一个明天

发现我们比今天走得远。

学艺费光阴，时日去匆忙，

任我们的心勇敢又坚强，

依然像一些蒙住的鼓——

敲打着哀乐走向那坟墓。

在风云世界的广阔战场，

在人生征途的野宿营帐，

别像默默的牛羊任驱赶！

要争做英雄，能征惯战！

将来再美好也别空指望！

让死的过去把死的埋葬！

干！在活生生的现在就干！

胸中是赤心，上帝在云端！

伟人的生平向我们指出：

我们能使此生超群脱俗——

一朝逝去，时间的沙滩上

将留下我们的脚印行行。

在庄严的生活之海航行，

也许有兄弟会遭到不幸，

会因为航船沉没而绝望——

但见那脚印，又变得顽强。

让我们挺起身，行动起来，

凭对付任何的胸怀，

不断去收获，不断去追求；

永远在学着苦干和等候。

（黄杲忻译）

译文三

'''生之颂'''

莫向我吟唱，哀戚之词

叹生如梦境，虚无所炽

灵魂之沉睡，恍若长辞

而世间万物，伪装如缁

因孤坟荒土，非我命旨

因生之馥郁，真切如是

既生于尘滞，复归尘滞

而九天魂灵，长存如诗

决不为欢声，抑或悲思

我生之所往，道长如斯

集快马长剑，日日疾驰

待明日细数，功成如此

任艺业无涯，光阴飞逝

彼壮士之心，英勇无疵

奈战鼓哀亡，冢林墓石

怜其怨其殇，命魂所指

观我生所在，浮华乱世

观风云乾坤，辽阔如帜

斯牛羊傀儡，安得其实

唯浴血烽火，终成其事

纵欢娱无尽，未来未至

任亡者葬弃，过往已失

上苍行其道，我执其旨

即可启征铎，不枉今日

伟人之不朽，可为典示

倾我之所能，亦足至此

反肉身凡胎，终有一死

然我将留痕，流光之坻

望生命之海，风急浪蚀

念天行无常，苦难游子

而前人足迹，必将明示

纵满盘皆输，壮志不失

集生之全力，勿候勿止

有备则无惧，命运之矢

独精我所行，逐我所适

且耕且守望，丰收之时

（张瑶译）

First of all, in terms of the title, the first translation is a tribute to life, and the second translation uses the song of life. The topic of the second translation is concise and clear, and the writing style is more ancient. The translation is relatively easy to understand in terms of overall translation, and the language is relatively plain and life-oriented. The first sentence "Tell me not in mournful numbers", the three translations have their own emphasis, the first translation is "Don't whisper to me in a sad tone", the "tell" is translated as "低吟"; the second translation is "Tell" is translated as "唱"; the third translation is translated as "吟唱".

For "Life is but an empty dream", translators of the first and second translations both translated it as "Life is just an illusory dream", which basically achieves the effect of "expressing meaning", while the third translation is translated as "sorrowful words", the author believes that it is biased, because it does not convey the charm of "life is like a dream" in the original text, and it misses the meaning of dreams. In addition, the full text of the third translation is neatly aligned, and the rhythm is the same as the original. The first line and the third line are rhythmical, and the second and fourth lines are also rhythmical. This reproduces the style of the original text. In this aspect, translation one and translation two do not do so well. Translation two rhymes with the first and second lines; the third and the fourth lines rhyme also; version one hardly rhymes.

In the second stanza, the translation of "Life is real, life is earnest!" translates two "life" into "生命" and "生活" respectively. They are neatly opposed, but they may misinterpret the meaning of the original poem. Life is here. What exactly is meant needs to be carefully considered. In the second translation, "life" is translated as “人生", and "life is earnest!" is translated as "it is not in vain". This is a conversion of positive and negative translation, which surprises readers.
For “Dust thou art, to dust returnest, Was not spoken of the soul”, version one translated it as “你来自尘土，必将归于尘土，但这指的是肉体，灵魂并未死亡”，version one added the meaning of “it refers to the body”, making this sentence easier to be understood. Version three translated it as “既生于尘滞，复归尘滞，而九天魂灵，长存如诗“.In this translation, the translators thinks that human’s soul would not disappear, and it would last forever like poetry. However, we know that in Long Fellow’s opinion, human’s soul would remain immortal because of the glory of their life, but not because of the poetry. Therefore, here translation version three failed to convey the original meaning of the sentence. About the third paragraph, “But to act, that each tomorrow finds us father than today”, about this sentence, version two successfully maintain the original rhetorical device——personalization here, and translated it into” 要让每一个明天发现我们比今天走得远“.Version three writes that”集快马长剑，日日疾驰，待明日细数，功成如此“，which is too far away from the original text, and it cannot reoccur the amaze of the source poetry.

In the fourth stanza, “Art is long, and time is fleeting, And our hearts ……are beating Funeral marches to the grave.” Version one translated it as” 艺术长久，时光飞逝，我们的心尽管英勇而坚强“，version two translated it as “学艺费光阴，时日去匆忙，任我们的心勇敢又坚强”； translator in version three translated it as “任艺业无涯，光阴飞逝，彼壮士之心，英勇无疵”.From the sentence structure we can find that, the former two versions convey the original meaning better because we know that in this paragraph, here exists a comparison between the facts that our heart is brave and the facts that our heart is like a muffled drum which is beating funeral marches to the grave. Therefore, here should be words in the former part, here the words are “尽管“”任“. However, in the version three, the word”任” is used to decorate the ”art is long and time is fleeting.”, such transference actually has misinterpreted the meaning of the original text.

In the fifth stanza, “Be not like dumb, driven cattle! Be a hero in the strife!”, this sentence is translated into three different versions. Version one:”别作默默无声、任人驱使的牛羊，要在战斗中当一名闯将！”；Version two: “别作默默的牛羊任驱赶！要争取做英雄，能征惯战！”；Version three：“斯牛羊傀儡，安得其实，唯浴血烽火，终成其事”. Comparatively, version one is more flexible, because there is no limit in the number of the words in a line. But in version two, each line must have ten words, and in version three, each line has 8 words, which is set stable. Besides, version two and three separately added the external meaning of “能征惯战““终成其事”，but in the original text it is “Be a hero in the strife”, therefore, the two versions make some external decorations to the sentence.

In the sixth stanza, “Act—act in the living Present! Heart within, and God’s o’erhead!” version one goes that:”行动吧，就在活着的此刻行动！胸内有红心，头顶有上苍！”；version two goes that”干！在活生生的现在就干！胸中是赤心，上帝在云端！”；Translator in version three goes that”上苍行其道，我执其旨，即刻起征铎，不枉今日“；In the three versions, the former two versions are easier to understand, while the third one is more abstract because it transfers the role and function of “God”. Originally, God only is overhead, however, in version three, its function has changed, and also here the “act” is translated into”我行其旨”， which means that human’s action is actually obeying the hints of the God. This translation can better help readers understand why the poet put “God is overhead” here, which reflects the culture and religion of the western country, but in version one and two, such relationship is not so clear. All in all, the three versions have their own advantages and disadvantages, which are decided by the translators’ choice of expressions and their understanding of the poetry.

In the seventh stanza, “Lives of great men ……on the sands of time”, as for this sentence’s translation, version one goes that”伟大的人物的生平..我们也能使我们的一生变得高尚，在离开人间时，也能让足印……身后的时间的沙滩上” ；version two goes that“伟人的生平向我们指出：我们能使此生超群脱俗——一朝逝去，时间的沙滩上将留下脚印行行”；version three goes that“伟人之不朽，可为典示，倾我之所能，亦足至此，反肉身凡胎，终有一死，然我将留痕，流光之坻”；Similarly，the former two versions are more readable and easy to understand. However, the third version is far more beautiful and elegant, according to the principle that poetry translation is different from the daily conversation, and the expressions need to be elegant and beautiful. By enjoying the third translation, readers can fully and satisfactorily obtain the beauty and poet’s philosophic theory included in the poetry.

In the eighth stanza, “Footprints that perhaps another… Seeing, shall take heart again.”
Version one goes that“呵，足印！也许另一位弟兄，当他航行在生命庄严的海洋上，不幸遇难，看见了这些足印，他就会使勇气增长”；version two goes that“ 在庄严的生活之海航行，也许有兄弟会遭遇不幸，会因为航船沉没而绝望——但见那脚印，又变得顽强”； version three goes that “ 望生命之海，风急浪蚀，念天行无常，苦难游子，而前人足迹，必将明示，纵满盘皆输，壮志不失” These three translation versions have different effects upon readers. Version one did not translate the “shipwrecked” directly as “航船沉没“， but rather translated it as “不幸遇难”，which is actually more concise than version two”遭遇不幸，会因为航船沉没而绝望“. The three versions successfully achieve the effect of metaphor and translated it into”生命之海”,which can make the meaning of the original text more clear and vivid. Besides, the version three adds some special Chinese expressions such as “满盘皆输”“壮志不失”“苦难游子”“天行无常”， which are easy to understand for Chinese readers, however, it is not so easy for the other language speaking readers, so it is better to add some annotation in order to smooth the understanding.

In the ninth stanza, the poet summarize and sublime the theme of the poetry with “Still achieving, still pursuing, learn to labour and to wait.” Version one goes that”永远要有所作为，不断追求，学会劳动，也学会等待和期望。”；version two goes that“不断去收获，不断去追求；永远在学着苦干和等候。”；version three goes that “独精我所行，逐我所适，且耕且守望，丰收之时”. In version one, the word “labour” is translated as “劳动”,which is not so appropriate exactly. Version two translated it as“苦干”，and this is better because it is corresponding to the theme of this poetry——keeping acting in the living present. Version three, however, translated it into”耕“，which has the cultural meaning for readers. In China, “耕”means labour, and it is easy to understand.

===4. Conclusion===

Criticism and appreciation of poetry translation, just like poetry translation, it needs various principles to support it. Before you can make the poetry translation appreciation and criticism, it is necessary for you to know what is poetry and what are the principles of poetry translation. Various translators put forward different poetry writing and translating principles, which are also helpful for critics to appreciate the poetry translation.

The three versions of translation of ''A Psalm of Life'' successfully convey the meaning of the whole poetry to some extent, however, different versions have some differences in some detailed sentences because of the translator's different cultural backgrounds and translation strategies their respective translator chose. However, there is no doubt that the three are good translations, and they greatly help readers understand the original text better. In the process of appreciation and criticism, people can also learn how to translate poetry better, and this is a process of mutual promotion. Last but not least, the comparative analysis of different translations of poems is conducive for reader's understanding towards poems in front of the transcultural background. However, about criticism and appreciation of poetry translation, much more efforts are needed to explore more important methods of criticism and appreciation. There is still a long way to go.

===5. References===

M. A. R. Habib (2011). Literary Criticism from Plato to the Present [M]. Wiley-Blackwell A John Wiley & Sons, Inc, Publication.

Huang Gaoxin 黄杲炘（1986）. 英国抒情诗100首 100 British Lyrics [M]. 上海译文出版社. Shanghai Translation Press.

Lao She 老舍（1984）. 谈翻译 About Translation [A]. 翻译研究论文集 Collection of Essays on Translation Research [C]. 北京 Peking: 外语教学与研究社 Foreign Language Pedagogy and Research Press.

Li Ming 李明（2010）. 翻译批评与鉴赏 [M]. Transaction Criticism and Appreciation. 武汉 Wuhan: 武汉大学出版社 Wuhan University Press.

Liao Siping, Zhang Yu (2007). 用心和眼睛传递诠释灵魂的艺术——袁可嘉的外国诗歌翻译 [J]. Delivering and interpreting the art of soul with heart and eyes—Yuan Kejia's Translation of Foreign Poems[J]. 中国翻译 China Translation.

Ning Huiqin 宁会勤（2009）. 从《多佛海岸》浅析诗歌翻译 [J]. Analysis of Poetry Translation from ''Dover Strait'' [J]. 读与写杂志 Journal of Reading and Writing.

Yang Xiaorong 杨晓荣（2005）. 翻译批评导论 [M]. Introduction to Translation Criticism [M]. 北京 Peking: 中国对外出版翻译公司 China Foreign Publishing and Translation Corporation.

Xu Jun 许钧（2009）. 翻译概论 [M]. Introduction to Translation [M]. 北京 Peking: 外语教学与研究出版社 Foreign Language Pedagogy and Research Press.

Zhou Yi & Luo Ping (2005). 翻译与批评 [M]. Translation and Criticism [M]. 武汉 Wuhan: 湖北教育出版社 Hubei Education Press.

Guo Moruo 郭沫若（1979）. 讨论注释运动及其他 [M]. Discuss annotation campaigns and others [M]. 重庆 Chong Qing: 西南人民出版社 Southwest People's Press.

Dai Weidonf 戴炜栋（2018）. 新编简明英语语言学教程 [M]. A New Concise Course in Linguistics for Students of English [M]. 上海 Shanghai: 上海外语教育出版社 Shanghai Foreign Language Education Press.

Aesth App EN 1

2021-12-30T13:05:18Z

Zhu Suzhen: /* 1 Criticism and appreciation of poetry translation ——taking A Psalm of Life as an example */

Quicklink back to the overview page [[Translation Theories Applied to Literary Translations|Overview Page of Translation Theories Applied to Literary Translations]]

Chapter [[Theor_App_Lit_EN_1]]

=1 Criticism and Appreciation of Poetry Translation ——Taking ''A Psalm of Life'' as An Example=

诗歌翻译批评与鉴赏——以《人生礼赞》为例

朱素珍 Zhu Suzhen, 202120081561,Hunan Normal University, China

===Abstract===
It is not difficult to translate poetry, and large quantities of translators and writers have provided us uncountable excellent translations of poetry. Unlike poetry translation, the criticism and appreciation of poetry translation is far more complicated. Despite of the complexity of the criticism and appreciation of poetry translation, some of the translators and ctitics have devoted themselves to it, and some breakthroughs have been made. Translators like Guo Moruo, Wen Yiduo, Li Ming, etc put forward their unique and thought-provoking principles of criticism and appreciation of poetry translation. These principles play an important role in the appreciation of poetry translation. Because of the great changes with our life and society, people live in a transcultural environment which develops in high speed.Is the criticism and appreciation of poetry translation conducive to the readers' understanding of the poetry in front of the transcultural background? How can critisiam and appreciation of poetry influenced reader's understanding of poetry? These questions are the focus of this paper. The author of this paper would mainly discuss the criticism and appreciation of poetry translation based on the comparative analysis of different versions of translation of the same poetry——''A Psalm of Life'', written by Henry Wordsworth Long Fellow. After the comparative analysis of three versions, whether the cultural factor has been considered or not can be uncovered clearly. Furthermore, in the process of criticism and appreciation, readers can also learn how to translate the poetry properly. Besides, such a method of analysis is also conducive to readers' appreciation of poetry translation in front of the transcultural background, which is inspiring and instructive.

===摘要===
翻译诗歌并不难，一大批译者和作家为我们提供了无数优秀的诗歌译本。与诗歌翻译不同，诗歌翻译的批评和鉴赏要复杂得多。尽管诗歌翻译的批评和鉴赏很复杂，一些译者和批评家都投入其中，并取得了一些突破。郭沫若、闻一多、李明等译者提出了自己独特的、发人深省的诗歌翻译批评与鉴赏原则。这些原则在诗歌翻译的鉴赏中起着重要的作用。由于我们的生活和社会发生了巨大的变化，人们生活在一个高速发展的跨文化环境中。诗歌翻译的批评和欣赏是否有利于读者在跨文化背景下理解诗歌？对诗歌的批评和欣赏如何影响读者对于诗歌的理解？这些问题是本文的重点。本文作者主要通过对同一首诗的不同译本的比较分析来探讨诗歌翻译的批评与鉴赏——以亨利·沃兹沃思·朗费罗所著《生命礼赞》为例，通过对三个版本比较分析，可以一目了然地看到文化因素是否被考虑进去了。此外，读者在诗歌翻译批评与鉴赏的过程中，也能学会如何正确地翻译诗歌，这样的分析方法也有利于读者在跨文化背景下欣赏诗歌翻译，具有启发性。

===Key words===
poetry translation; appreciation and criticism; comparative analysis; transcultural background

===关键词===
诗歌翻译; 批评与鉴赏；比较分析; 跨文化背景

===1. Introduction===
Varieties of human emotions and feelings can be recorded and transmitted by the form of poetry, which is an essential part of human life. For China, poetry has played a special and crucial role since the ancient times, with Tang dynasty as its peak period of development. Due to the powerful emotional expressiveness of poetry, many poets have adopted this genre for literary creation, producing rich and colourful poetry culture. Piles of wonderful poems have appeared like mushrooms after the rain. Not only in China, universal and common for humankind, poetry was chosen by quantities of western poets including Percy Bysshe Shelley, Robert Burns, Emily Dickinson, etc.

According to Aristotle, literature should have the function of purifying people's minds (Catharsis), that is to say, to educate them. Poetry makes it possible for poets to imitate and express their feelings toward the world. When the readers are reading the poetry, they can feel the emotions of the poet, for example the happiness, the sadness, the love for the nature, etc. There are not only the positive poets, and there are also the nagative poets who expressed negative attitude towards the world. About such negative attitude, readers can criticize it. During the process of appreciation and criticism, their virtue can be promoted, so they can reach a higher level of morality. Opposed to Aristotle, in Plato’s opinion, poetry is the second removal from reality, and it is a great danger for the unity of philosophy. Moreover, the poets should be exiled, and there should be strict censorship for the publication of poetry. Different philosophers have different ideas about poetry. And different poets can create different kinds of poems with rich titles and versatile structures. (M. A. R. Habib, 2011:10-18)

Besides, people speaking in different language and living in exotic culture are capable to write the poetry that is special to them. Such special point is stemming from the difference of language and culture. People are not unfamiliar with Sapir Wolf’s Theory of Linguistic Relativity which put forward that language decides how people think. It is such a strong and even a little decisive theory. However, it at least uncovers the relationship between language and culture. It is understandable that language is to some extent reflects how people are thinking， and the thinking can further show the influence of culture in the process of communication. For example, in China, people would say” Have you eaten?” when they meet each other occasionally. But the Chinese are not intentionally asking whether the hearer has eaten or not, and they are only expressing a kind of greeting. (Dai Weidong, 2018:128)

Therefore, when the foreigners hearing such a sentence, they would get confused. This is a typical example showing the culture’s important role in communication. Except for the spoken communication, culture would also influence the translation of literary works, such as poetry, novel and play, etc. In the translation of poetry, a professional translator has to put the factor of culture into consideration well in order to achieve a high-quality translation effect. Actually, poetry cross-culture translation is always an inevitable issue for translation, especially today we are in a high-speed developing cross-culture Time, naturally how to appreciate the translation of poetry is of great importance. (Dai Weidong, 2018:130)

===2.The principles of poetry translation appreciation and criticism===

====2.1 What is poetry====

First, it is necessary for us to know what is poetry. Poetry is a kind of literary style that summarizes and reflects the social life. Chinese famous writer Cao Wenxuan once said before that different from the novel, poetry expresses people’s feeling, while novelists write novels that reflect people’s experience. Poetry is the synthesis of experience rather than the experience itself. However, novel presents experience itself and leaves the feelings of experience to reader. In other words, readers need to obtain the feelings of experience by themselves after reading the novel thoroughly. But the poetry conveys the feelings directly, and readers can enjoy the wonderful feelings while reading. Here is an interesting comment about the relationship between poetry and novel: novel describes an awesome house, but poetry presents only the feelings and interjective toward the house. (Li Ming, 2010: 134)

Besides Cao Wenxuan, American poet Frost also has his own unique definition of poetry: Poetry is what has lost in translation. From the perspective of translation, this sentence amply points out the awkwardness and helplessness. Second, it is important to know what is poetry translation appreciation and criticism. Before that, poetry translation should be firstly taken into consideration. Poetry is a synthesis of ideational feelings, situational image, rhymical tempo and internal expression style. Translation poetry should consider these aspects. Translators should strive to transmit the rhymical sound and the spiritual aspects of poetry when they are making the translation readable and easy to be understood. (Ning Huiqin，2009：34) (Li Ming, 2010: 203)

Moreover, the translation of poetry needs the poetic talents of translator. Just as what the famous writer Lao She said:” Translators who have poetic talents should try to translate poetry in the form of poetry, and they also need to make readers not only know the contents of the book but also the way in which how such contents were conveyed." Such comments just explain that besides the expression of meaning, making the original poetry’s style characteristics reoccurring is extremely significant.(Lao She, 1984: 131)

====2.2 Principles of poetry translation====

Now it is time to consider the principles of poetry translation. There is a saying that translation is difficult, especially the translation of literary works among which the poetry translation is far more difficult. This can be seen from the characteristic of poetry which resembles the peak of translation art, and the poetry translation needs to consider the beauty of meaning, sound and words. Therefore, the translation of poetry is a kind of sophisticated and integrate art. When it comes to the issue how to translate poetry, translators have their own unique opinions and perspectives. For example, Guo Moruo put forward the principle of “translating poetry with poetry”; Wen Yiduo supported the principle of “using the pen of poetry to translate poetry”.(Guo Moruo,1979:144)

Moreover, some other translators put forward that poetry translation has two principles. Principle one is that poetry translation should pay attention to avoid the commonization of language. That is to say if translators translate poetry with plain and common even inflexible words and expressions and ignore the unique characteristics of poetic language and the individual poet’s language characteristics, which would not only fail to keep the original poetry’s expressional style but also fail to convey the spiritual soul of the original poetry (Liao Siping, Zhang Yu, 2007: 53). The other principle prescribes that the poetry translation should avoid the nationalization of poetry form. For example, it would make the poetry translation neither fish nor fowl even vulgarization if we translate the foreign poetry into our Chinese neat and uniform poetry forms like a poem with five characters in a line or with seven characters in a line or even the folk song style compulsively (Liao Siping, Zhang Yu, 2007: 53-54)

Last but not least, poetry translation is a process of recreation. What does it mean? That is to say when translators are translating poetry, they not only need to maintain the original condition in which the poetry is written but also be able to be flexible appropriately. As for this point, Song Yinghao professor in Tai Wan, China once said that in the process of translation the translators need to be invisible. And he also supported the principles of “translating poetry with poetry”. Actually, after having a thorough understanding of what is poetry translation and some of the principles of poetry translation, it is not so difficult for us to understand that poetry is an organic synthesis. Poetry itself is a life body. Therefore, the translation of poetry also needs to be a “life body”, and translators have to make the vivid situations that occur in the original poetry reoccurring in the translation versions poetry.（Liao Siping, Zhang Yu, 2007: 53）

Now it is time to consider the principles of poetry translation. There is a saying that translation is difficult, especially the translation of literary works among which the poetry translation is far more difficult. This can be seen from the characteristic of poetry which resembles the peak of translation art, and the poetry translation needs to consider the beauty of meaning, sound and words. Therefore, the translation of poetry is a kind of sophisticated and integrate art. When it comes to the issue how to translate poetry, translators have their own unique opinions and perspectives. For example, Guo Moruo put forward the principle of “translating poetry with poetry”; Wen Yiduo supported the principle of “using the pen of poetry to translate poetry”.

Moreover, some other translators put forward that poetry translation has two principles. Principle one is that poetry translation should pay attention to avoid the commonization of language. That is to say if translators translate poetry with plain and common even inflexible words and expressions and ignore the unique characteristics of poetic language and the individual poet’s language characteristics, which would not only fail to keep the original poetry’s expressional style but also fail to convey the spiritual soul of the original poetry (Liao Siping, Zhang Yu, 2007: 53). The other principle prescribes that the poetry translation should avoid the nationalization of poetry form. For example, it would make the poetry translation neither fish nor fowl even vulgarization if we translate the foreign poetry into our Chinese neat and uniform poetry forms like a poem with five characters in a line or with seven characters in a line or even the folk song style compulsively (Liao Siping, Zhang Yu, 2007: 53-54)

====2.3 What is criticism and appreciation of poetry translation====

Later, there is no doubt that we need principles to prescribe our behavior of poetry translation criticism and appreciation . Some influential translators have put forward lots of meaningful poetry translation principles. Actually, the principles of poetry translation are one of the most important criteria of criticism and appreciation of poetry translation. Under the guidance of such principles the translators have the possibility to smooth the process of translation without losing the original amaze of the poetry. At the same time, these important principles can also be used to check if the translators have obeyed them or not. Thus, one of the ways in which the critics do the literary criticism occurs. By the way, translators' subjectivity can not be ignored at the same time. Because translation can be seen as a recreation process, thus the translators can make their subjectivity work in this process. Through the integrate consideration of the original poetry creation condition and the readers’ cultural background, translators are able to translate the poetry wonderfully thus making the purpose of transmitting culture and literature realized.(Xu Jun, 2009: 156)

====2.4 Principles of criticism and appreciation of poetry translation====

Later, there is no doubt that we need principles to prescribe our behavior of poetry translation appreciation and criticism. Some influential translators have put forward lots of meaningful poetry translation principles. Actually, the principles of poetry translation are one of the most important criteria of poetry translation appreciation and criticism. Under the guidance of such principles the translators have the possibility to smooth the process of translation without losing the original amaze of the poetry. At the same time, these important principles can also be used to check if the translators have obeyed them or not. Thus, one of the ways in which the critics do the literary criticism occurs. By the way, translator’s subjectivity can not be ignored at the same time. Because translation can be seen as a recreation process, thus the translators can make their subjectivity work in this process. Through the integrate consideration of the original poetry creation condition and the readers’ cultural background, translators are able to translate the poetry wonderfully thus making the purpose of transmitting culture and literature realized. (Zhou Yi & Luo Ping, 2005: 167)

===3.Comparative analysis of different translations of poetry===

In this part, it is necessary to make some comparative analysis between different versions of translation so as to do the poetry translation appreciation and criticism. As we all known, translation is also a process in which the translators try to recreate and translate. Translators are the creators at the same time. Because of their different culture background, educational background, their translation experience and some other factors, different translators can create different versions of poetry. Therefore, in this process we can experience how the translators construct and create the translation based on their embodied experience and professional quality.

It is not uncommon that the same poetry may have different versions of translation. And the appreciation of translation is to analyze how the translators translate it and why they would try to translate in such a way. At the same time, translation appreciation is not just a process to appreciate it, it is also a process to learn. Translation can be seen as a bridge that relates the reader and the writer in different language background. Without translation, it is impossible to transmit the beauty and amaze of literary works to more people, not less achieving a grandeur and multi-cultural literature feast. The translators are like the builder of the bridge, and their subjective factors including attitude, spirit as well as objective factors involving building method, the natural factors and so on are a unified system that would influence how the builders construct the bridge. It is believed that there are no best versions of translation, but better one. Therefore, the unlimited nature of translation makes it possible for us to make a comparison between kinds of versions, because there is no best translation but better one.

English poetry is like an endless sea in which different kind of poets devote themselves to the poetry creation. Because of the limited writing space, I will choose one of the famous and significant English poetries and its corresponding translation versions of Chinese. Then it is necessary to analyze the different aspects of the different translation versions of the same poetry. It is a common place that the same poetry can be translated into various versions. At this time, which version is better and the reasons need to be explained.
For example, a woman went to a shop to buy clothes. And she had tried so many dresses, shirts and blouses, etc. Then she needs criteria to help her decide which one she would like to buy. The criteria can be set by different people in various ways. But the woman is unique and she cannot be replaced by others, how about the clothes? Different clothes designers have different design rules and principles, and then we have such a colorful and multi-modal clothing world. Just like this, poetry translators are the clothing designers, and the different kinds of clothes resemble the various versions of translations. Like the cloth designers, the poetry translators have the right to recreate, but only on the basis of remaining the original colors and styles of the source poetry. Or it will make the poetry translations neither fish nor fowl. ( Li Ming, 2010: 204)

Let’s look at some examples of the poetry translation versions and try to make a comparative analysis between them. “A psalm of life” is the work of the excellent American Romanticism poet Henry Wordsworth Long Fellow. In 1839, Long Fellow published his first series of poems “Voice of the Night” in which the famous A Psalm of Life, A Psalm of Night were included. Long Fellow’s poems are elegant, plain and clear. His poems have greatly influenced American literature, and his poems were translated into more than twenty kinds of versions in different languages. In 'A Psalm of Life', Long Fellow praises life positively, which reflects the American people’s sound in the heart, and at that time, American capitalism has entered a period of vigorous development. According to Qian Zhongshu’s research, the Chinese version of ''A Psalm of Life'' is the first western poem being translated into Chinese. It was the Dong Xun, the Ministry of Revenue in Xian Feng period of the Qing dynasty, that first translated ''A Psalm of Life'' in the form of seven words in a line. However, the translation at that time was not so good, so it even aroused the old intellectuals’ contempt for western literature. Later, thanks to the appearance of new versions of translation of ''A Psalm of Life'', it widely circulated in China (Li Ming, 2010: 206-207).

Now let us try to analyze the different translation versions of ''A Psalm of Life''. First, let’s look at the original contents of this poem.

''A Psalm of Life''

Henry Wordsworth Long Fellow

Tell me not in mournful numbers,

Life is but an empty dream!

For the soul is dead that slumbers,

And things are not what they seem.

Life is real! Life is earnest!

And the grave is not its goal;

Dust thou art, to dust returnest,

Was not spoken of the soul.

Not enjoyment, and not sorrow,

Is our destined end or way;

But to act, that each tomorrow

Finds us farther than today.

Art is long, and time is fleeting,

And our hearts, though stout and brave,

Still, like muffled drums, are beating

Funeral marches to the grave.

In the world’s broad field of battle,

In the bivouac of life,

Be not like dumb, driven cattle!

Be a hero in the strife!

Trust no Future, howe’er pleasant!

Let the dead Past bury its dead!

Act—act in the living Present!

Heart within, and God’s o’erhead!

Lives of great men all remind us

We can make our lives sublime,

And, departing, leave behind us

Footprints on the sands of time;

Footprints that perhaps another,

Sailing o’er life’s solemn main,

A forlorn and shipwrecked brother,

Seeing, shall take heart again.

Let us, then, be up and doing,

With a heart for any fate;

Still achieving, still pursuing,

Learn to labour and to wait.

This poem is short but powerful with ample contents and lucid structure, showing readers strong emotional shock. The whole poem consists of nine stanzas, and each stanza has four verse lines, therefore, thirty-six lines in all. It can be divided into four parts to discuss the life in the eye of Long Fellow. The first two stanzas mainly correct the wrong and depraved argument that “life is but an empty dream”, and tell readers that “Life is real! Life is earnest!”

From the third stanza to the sixth stanza, Long Fellow discussed the issue that how to live life and suggest people act in the living present, which is the theme of this poetry. The seventh and the eighth stanza highlights the virtue and meaning of life. At the same time, the example of great people is used to encourage readers. Only the people who act in the living present can be remembered thus leaving footprints on the sands of time. This corresponds to what has been discussed in the second paragraph: Only the body will disappear, but not the soul of people. A person’s soul would be immortal because of the glory of life.

The last stanza are the summary and sublimation of the whole poetry. Long Fellow appeals to readers that they should act in the living present and be brave to confront the challenges in life. Finally, the poet summarizes the poetry with a thought-provoking sentence: “Still achieving, still pursuing.”, which corresponds to the subject of the poetry——acting in the living present. The poetry is full of the optimistic spirit and ample passion, and the poetry expresses the poet’s enthusiasm and pursuit of life as well as the positive and hardworking life attitude, criticizing the decadent attitude of life is but an empty dream.
Now let us see the Chinese versions of translations of A Psalm of Life. ( the author of this paper's analysis of ''A Psalm of Life'')

译文一：

'''生命的礼赞'''

别用悲伤的语调对我呻吟，

“人生不过是梦幻一场”！

因为沉睡中的灵魂已经死去，

万物并非它们显示的模样。

生命是真实的！生活是严肃的！

它们的终点决不是坟场；

“你来自尘土，必归于尘土”；

但这是指肉体，灵魂并未死亡。

我们注定的结局和道路，

既不是享乐，也不是悲伤；

而是行动，为了每一个明天，

使我们比今天走得更远更长。

艺术长久，韶光飞逝，

我们的心尽管英勇而坚强，

却仍像阵阵低沉的鼓声，

正朝着坟墓把哀乐敲响。

在世界辽阔的战场上，

在生命的露宿的营地上，

别作默默无声、任人驱使的牛羊，

要在战斗中当一名闯将！

莫信托未来，不管它怎样欢畅！

让逝去的岁月将死者埋葬！

行动吧，就在活着的此刻行动！

胸内有红心，头顶有上苍！

伟大的人物的生平把我们提醒，

我们能使我们的一生变得高尚，

在离开人间时，也能让足印

遗留在我们身后的时间的沙滩上。

呵，足印！也许另一位弟兄，

当他航行在生命庄严的海洋上，

不幸遇难，看见了这些足印，

他就会使勇气重新增长。

那么让我们振奋起来行动吧，

我们准备迎接任何命运的风浪；

永远要有所作为，不断追求，

学会劳动，也学会等待和期望。

（黄新渠译）

译文二

'''生之颂'''

别用悲切的诗句对我唱：

“人生只是虚幻的梦一场！”

因为昏睡的灵魂已死亡，

而事物不是看来那模样。

人生多真切！它绝非虚度！

一抔黄土哪里会是它的归宿；

“你来自泥尘，得重归泥尘，”

这句话所指的并不是灵魂。

我们命定的终点和道路

既不是享乐，也不是悲苦；

行动吧；要让每一个明天

发现我们比今天走得远。

学艺费光阴，时日去匆忙，

任我们的心勇敢又坚强，

依然像一些蒙住的鼓——

敲打着哀乐走向那坟墓。

在风云世界的广阔战场，

在人生征途的野宿营帐，

别像默默的牛羊任驱赶！

要争做英雄，能征惯战！

将来再美好也别空指望！

让死的过去把死的埋葬！

干！在活生生的现在就干！

胸中是赤心，上帝在云端！

伟人的生平向我们指出：

我们能使此生超群脱俗——

一朝逝去，时间的沙滩上

将留下我们的脚印行行。

在庄严的生活之海航行，

也许有兄弟会遭到不幸，

会因为航船沉没而绝望——

但见那脚印，又变得顽强。

让我们挺起身，行动起来，

凭对付任何的胸怀，

不断去收获，不断去追求；

永远在学着苦干和等候。

（黄杲忻译）

译文三

'''生之颂'''

莫向我吟唱，哀戚之词

叹生如梦境，虚无所炽

灵魂之沉睡，恍若长辞

而世间万物，伪装如缁

因孤坟荒土，非我命旨

因生之馥郁，真切如是

既生于尘滞，复归尘滞

而九天魂灵，长存如诗

决不为欢声，抑或悲思

我生之所往，道长如斯

集快马长剑，日日疾驰

待明日细数，功成如此

任艺业无涯，光阴飞逝

彼壮士之心，英勇无疵

奈战鼓哀亡，冢林墓石

怜其怨其殇，命魂所指

观我生所在，浮华乱世

观风云乾坤，辽阔如帜

斯牛羊傀儡，安得其实

唯浴血烽火，终成其事

纵欢娱无尽，未来未至

任亡者葬弃，过往已失

上苍行其道，我执其旨

即可启征铎，不枉今日

伟人之不朽，可为典示

倾我之所能，亦足至此

反肉身凡胎，终有一死

然我将留痕，流光之坻

望生命之海，风急浪蚀

念天行无常，苦难游子

而前人足迹，必将明示

纵满盘皆输，壮志不失

集生之全力，勿候勿止

有备则无惧，命运之矢

独精我所行，逐我所适

且耕且守望，丰收之时

（张瑶译）

First of all, in terms of the title, the first translation is a tribute to life, and the second translation uses the song of life. The topic of the second translation is concise and clear, and the writing style is more ancient. The translation is relatively easy to understand in terms of overall translation, and the language is relatively plain and life-oriented. The first sentence "Tell me not in mournful numbers", the three translations have their own emphasis, the first translation is "Don't whisper to me in a sad tone", the "tell" is translated as "低吟"; the second translation is "Tell" is translated as "唱"; the third translation is translated as "吟唱".

For "Life is but an empty dream", translators of the first and second translations both translated it as "Life is just an illusory dream", which basically achieves the effect of "expressing meaning", while the third translation is translated as "sorrowful words", the author believes that it is biased, because it does not convey the charm of "life is like a dream" in the original text, and it misses the meaning of dreams. In addition, the full text of the third translation is neatly aligned, and the rhythm is the same as the original. The first line and the third line are rhythmical, and the second and fourth lines are also rhythmical. This reproduces the style of the original text. In this aspect, translation one and translation two do not do so well. Translation two rhymes with the first and second lines; the third and the fourth lines rhyme also; version one hardly rhymes.

In the second stanza, the translation of "Life is real, life is earnest!" translates two "life" into "生命" and "生活" respectively. They are neatly opposed, but they may misinterpret the meaning of the original poem. Life is here. What exactly is meant needs to be carefully considered. In the second translation, "life" is translated as “人生", and "life is earnest!" is translated as "it is not in vain". This is a conversion of positive and negative translation, which surprises readers.
For “Dust thou art, to dust returnest, Was not spoken of the soul”, version one translated it as “你来自尘土，必将归于尘土，但这指的是肉体，灵魂并未死亡”，version one added the meaning of “it refers to the body”, making this sentence easier to be understood. Version three translated it as “既生于尘滞，复归尘滞，而九天魂灵，长存如诗“.In this translation, the translators thinks that human’s soul would not disappear, and it would last forever like poetry. However, we know that in Long Fellow’s opinion, human’s soul would remain immortal because of the glory of their life, but not because of the poetry. Therefore, here translation version three failed to convey the original meaning of the sentence. About the third paragraph, “But to act, that each tomorrow finds us father than today”, about this sentence, version two successfully maintain the original rhetorical device——personalization here, and translated it into” 要让每一个明天发现我们比今天走得远“.Version three writes that”集快马长剑，日日疾驰，待明日细数，功成如此“，which is too far away from the original text, and it cannot reoccur the amaze of the source poetry.

In the fourth stanza, “Art is long, and time is fleeting, And our hearts ……are beating Funeral marches to the grave.” Version one translated it as” 艺术长久，时光飞逝，我们的心尽管英勇而坚强“，version two translated it as “学艺费光阴，时日去匆忙，任我们的心勇敢又坚强”； translator in version three translated it as “任艺业无涯，光阴飞逝，彼壮士之心，英勇无疵”.From the sentence structure we can find that, the former two versions convey the original meaning better because we know that in this paragraph, here exists a comparison between the facts that our heart is brave and the facts that our heart is like a muffled drum which is beating funeral marches to the grave. Therefore, here should be words in the former part, here the words are “尽管“”任“. However, in the version three, the word”任” is used to decorate the ”art is long and time is fleeting.”, such transference actually has misinterpreted the meaning of the original text.

In the fifth stanza, “Be not like dumb, driven cattle! Be a hero in the strife!”, this sentence is translated into three different versions. Version one:”别作默默无声、任人驱使的牛羊，要在战斗中当一名闯将！”；Version two: “别作默默的牛羊任驱赶！要争取做英雄，能征惯战！”；Version three：“斯牛羊傀儡，安得其实，唯浴血烽火，终成其事”. Comparatively, version one is more flexible, because there is no limit in the number of the words in a line. But in version two, each line must have ten words, and in version three, each line has 8 words, which is set stable. Besides, version two and three separately added the external meaning of “能征惯战““终成其事”，but in the original text it is “Be a hero in the strife”, therefore, the two versions make some external decorations to the sentence.

In the sixth stanza, “Act—act in the living Present! Heart within, and God’s o’erhead!” version one goes that:”行动吧，就在活着的此刻行动！胸内有红心，头顶有上苍！”；version two goes that”干！在活生生的现在就干！胸中是赤心，上帝在云端！”；Translator in version three goes that”上苍行其道，我执其旨，即刻起征铎，不枉今日“；In the three versions, the former two versions are easier to understand, while the third one is more abstract because it transfers the role and function of “God”. Originally, God only is overhead, however, in version three, its function has changed, and also here the “act” is translated into”我行其旨”， which means that human’s action is actually obeying the hints of the God. This translation can better help readers understand why the poet put “God is overhead” here, which reflects the culture and religion of the western country, but in version one and two, such relationship is not so clear. All in all, the three versions have their own advantages and disadvantages, which are decided by the translators’ choice of expressions and their understanding of the poetry.

In the seventh stanza, “Lives of great men ……on the sands of time”, as for this sentence’s translation, version one goes that”伟大的人物的生平..我们也能使我们的一生变得高尚，在离开人间时，也能让足印……身后的时间的沙滩上” ；version two goes that“伟人的生平向我们指出：我们能使此生超群脱俗——一朝逝去，时间的沙滩上将留下脚印行行”；version three goes that“伟人之不朽，可为典示，倾我之所能，亦足至此，反肉身凡胎，终有一死，然我将留痕，流光之坻”；Similarly，the former two versions are more readable and easy to understand. However, the third version is far more beautiful and elegant, according to the principle that poetry translation is different from the daily conversation, and the expressions need to be elegant and beautiful. By enjoying the third translation, readers can fully and satisfactorily obtain the beauty and poet’s philosophic theory included in the poetry.

In the eighth stanza, “Footprints that perhaps another… Seeing, shall take heart again.”
Version one goes that“呵，足印！也许另一位弟兄，当他航行在生命庄严的海洋上，不幸遇难，看见了这些足印，他就会使勇气增长”；version two goes that“ 在庄严的生活之海航行，也许有兄弟会遭遇不幸，会因为航船沉没而绝望——但见那脚印，又变得顽强”； version three goes that “ 望生命之海，风急浪蚀，念天行无常，苦难游子，而前人足迹，必将明示，纵满盘皆输，壮志不失” These three translation versions have different effects upon readers. Version one did not translate the “shipwrecked” directly as “航船沉没“， but rather translated it as “不幸遇难”，which is actually more concise than version two”遭遇不幸，会因为航船沉没而绝望“. The three versions successfully achieve the effect of metaphor and translated it into”生命之海”,which can make the meaning of the original text more clear and vivid. Besides, the version three adds some special Chinese expressions such as “满盘皆输”“壮志不失”“苦难游子”“天行无常”， which are easy to understand for Chinese readers, however, it is not so easy for the other language speaking readers, so it is better to add some annotation in order to smooth the understanding.

In the ninth stanza, the poet summarize and sublime the theme of the poetry with “Still achieving, still pursuing, learn to labour and to wait.” Version one goes that”永远要有所作为，不断追求，学会劳动，也学会等待和期望。”；version two goes that“不断去收获，不断去追求；永远在学着苦干和等候。”；version three goes that “独精我所行，逐我所适，且耕且守望，丰收之时”. In version one, the word “labour” is translated as “劳动”,which is not so appropriate exactly. Version two translated it as“苦干”，and this is better because it is corresponding to the theme of this poetry——keeping acting in the living present. Version three, however, translated it into”耕“，which has the cultural meaning for readers. In China, “耕”means labour, and it is easy to understand.

===4. Conclusion===

Criticism and appreciation of poetry translation, just like poetry translation, it needs various principles to support it. Before you can make the poetry translation appreciation and criticism, it is necessary for you to know what is poetry and what are the principles of poetry translation. Various translators put forward different poetry writing and translating principles, which are also helpful for critics to appreciate the poetry translation.

The three versions of translation of ''A Psalm of Life'' successfully convey the meaning of the whole poetry to some extent, however, different versions have some differences in some detailed sentences because of the translator's different cultural backgrounds and translation strategies their respective translator chose. However, there is no doubt that the three are good translations, and they greatly help readers understand the original text better. In the process of appreciation and criticism, people can also learn how to translate poetry better, and this is a process of mutual promotion. Last but not least, the comparative analysis of different translations of poems is conducive for reader's understanding towards poems in front of the transcultural background. However, about criticism and appreciation of poetry translation, much more efforts are needed to explore more important methods of criticism and appreciation. There is still a long way to go.

===5. References===

M. A. R. Habib (2011). Literary Criticism from Plato to the Present [M]. Wiley-Blackwell A John Wiley & Sons, Inc, Publication.

Huang Gaoxin 黄杲炘（1986）. 英国抒情诗100首 100 British Lyrics [M]. 上海译文出版社. Shanghai Translation Press.

Lao She 老舍（1984）. 谈翻译 About Translation [A]. 翻译研究论文集 Collection of Essays on Translation Research [C]. 北京 Peking: 外语教学与研究社 Foreign Language Pedagogy and Research Press.

Li Ming 李明（2010）. 翻译批评与鉴赏 [M]. Transaction Criticism and Appreciation. 武汉 Wuhan: 武汉大学出版社 Wuhan University Press.

Liao Siping, Zhang Yu (2007). 用心和眼睛传递诠释灵魂的艺术——袁可嘉的外国诗歌翻译 [J]. Delivering and interpreting the art of soul with heart and eyes—Yuan Kejia's Translation of Foreign Poems[J]. 中国翻译 China Translation.

Ning Huiqin 宁会勤（2009）. 从《多佛海岸》浅析诗歌翻译 [J]. Analysis of Poetry Translation from ''Dover Strait'' [J]. 读与写杂志 Journal of Reading and Writing.

Yang Xiaorong 杨晓荣（2005）. 翻译批评导论 [M]. Introduction to Translation Criticism [M]. 北京 Peking: 中国对外出版翻译公司 China Foreign Publishing and Translation Corporation.

Xu Jun 许钧（2009）. 翻译概论 [M]. Introduction to Translation [M]. 北京 Peking: 外语教学与研究出版社 Foreign Language Pedagogy and Research Press.

Zhou Yi & Luo Ping (2005). 翻译与批评 [M]. Translation and Criticism [M]. 武汉 Wuhan: 湖北教育出版社 Hubei Education Press.

Guo Moruo 郭沫若（1979）. 讨论注释运动及其他 [M]. Discuss annotation campaigns and others [M]. 重庆 Chong Qing: 西南人民出版社 Southwest People's Press.

Dai Weidonf 戴炜栋（2018）. 新编简明英语语言学教程 [M]. A New Concise Course in Linguistics for Students of English [M]. 上海 Shanghai: 上海外语教育出版社 Shanghai Foreign Language Education Press.

Aesth App EN 1

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Zhu Suzhen: /* 3. Comparative analysis of different version of translation of poetry */

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Chapter [[Theor_App_Lit_EN_1]]

=1 Criticism and appreciation of poetry translation ——taking ''A Psalm of Life'' as an example=

诗歌翻译批评与鉴赏——以《人生礼赞》为例

朱素珍 Zhu Suzhen, 202120081561,Hunan Normal University, China

===Abstract===
It is not difficult to translate poetry, and large quantities of translators and writers have provided us uncountable excellent translations of poetry. Unlike poetry translation, the criticism and appreciation of poetry translation is far more complicated. Despite of the complexity of the criticism and appreciation of poetry translation, some of the translators and ctitics have devoted themselves to it, and some breakthroughs have been made. Translators like Guo Moruo, Wen Yiduo, Li Ming, etc put forward their unique and thought-provoking principles of criticism and appreciation of poetry translation. These principles play an important role in the appreciation of poetry translation. Because of the great changes with our life and society, people live in a transcultural environment which develops in high speed.Is the criticism and appreciation of poetry translation conducive to the readers' understanding of the poetry in front of the transcultural background? How can critisiam and appreciation of poetry influenced reader's understanding of poetry? These questions are the focus of this paper. The author of this paper would mainly discuss the criticism and appreciation of poetry translation based on the comparative analysis of different versions of translation of the same poetry——''A Psalm of Life'', written by Henry Wordsworth Long Fellow. After the comparative analysis of three versions, whether the cultural factor has been considered or not can be uncovered clearly. Furthermore, in the process of criticism and appreciation, readers can also learn how to translate the poetry properly. Besides, such a method of analysis is also conducive to readers' appreciation of poetry translation in front of the transcultural background, which is inspiring and instructive.

===摘要===
翻译诗歌并不难，一大批译者和作家为我们提供了无数优秀的诗歌译本。与诗歌翻译不同，诗歌翻译的批评和鉴赏要复杂得多。尽管诗歌翻译的批评和鉴赏很复杂，一些译者和批评家都投入其中，并取得了一些突破。郭沫若、闻一多、李明等译者提出了自己独特的、发人深省的诗歌翻译批评与鉴赏原则。这些原则在诗歌翻译的鉴赏中起着重要的作用。由于我们的生活和社会发生了巨大的变化，人们生活在一个高速发展的跨文化环境中。诗歌翻译的批评和欣赏是否有利于读者在跨文化背景下理解诗歌？对诗歌的批评和欣赏如何影响读者对于诗歌的理解？这些问题是本文的重点。本文作者主要通过对同一首诗的不同译本的比较分析来探讨诗歌翻译的批评与鉴赏——以亨利·沃兹沃思·朗费罗所著《生命礼赞》为例，通过对三个版本比较分析，可以一目了然地看到文化因素是否被考虑进去了。此外，读者在诗歌翻译批评与鉴赏的过程中，也能学会如何正确地翻译诗歌，这样的分析方法也有利于读者在跨文化背景下欣赏诗歌翻译，具有启发性。

===Key words===
poetry translation; appreciation and criticism; comparative analysis; transcultural background

===关键词===
诗歌翻译; 批评与鉴赏；比较分析; 跨文化背景

===1. Introduction===
Varieties of human emotions and feelings can be recorded and transmitted by the form of poetry, which is an essential part of human life. For China, poetry has played a special and crucial role since the ancient times, with Tang dynasty as its peak period of development. Due to the powerful emotional expressiveness of poetry, many poets have adopted this genre for literary creation, producing rich and colourful poetry culture. Piles of wonderful poems have appeared like mushrooms after the rain. Not only in China, universal and common for humankind, poetry was chosen by quantities of western poets including Percy Bysshe Shelley, Robert Burns, Emily Dickinson, etc.

According to Aristotle, literature should have the function of purifying people's minds (Catharsis), that is to say, to educate them. Poetry makes it possible for poets to imitate and express their feelings toward the world. When the readers are reading the poetry, they can feel the emotions of the poet, for example the happiness, the sadness, the love for the nature, etc. There are not only the positive poets, and there are also the nagative poets who expressed negative attitude towards the world. About such negative attitude, readers can criticize it. During the process of appreciation and criticism, their virtue can be promoted, so they can reach a higher level of morality. Opposed to Aristotle, in Plato’s opinion, poetry is the second removal from reality, and it is a great danger for the unity of philosophy. Moreover, the poets should be exiled, and there should be strict censorship for the publication of poetry. Different philosophers have different ideas about poetry. And different poets can create different kinds of poems with rich titles and versatile structures. (M. A. R. Habib, 2011:10-18)

Besides, people speaking in different language and living in exotic culture are capable to write the poetry that is special to them. Such special point is stemming from the difference of language and culture. People are not unfamiliar with Sapir Wolf’s Theory of Linguistic Relativity which put forward that language decides how people think. It is such a strong and even a little decisive theory. However, it at least uncovers the relationship between language and culture. It is understandable that language is to some extent reflects how people are thinking， and the thinking can further show the influence of culture in the process of communication. For example, in China, people would say” Have you eaten?” when they meet each other occasionally. But the Chinese are not intentionally asking whether the hearer has eaten or not, and they are only expressing a kind of greeting. (Dai Weidong, 2018:128)

Therefore, when the foreigners hearing such a sentence, they would get confused. This is a typical example showing the culture’s important role in communication. Except for the spoken communication, culture would also influence the translation of literary works, such as poetry, novel and play, etc. In the translation of poetry, a professional translator has to put the factor of culture into consideration well in order to achieve a high-quality translation effect. Actually, poetry cross-culture translation is always an inevitable issue for translation, especially today we are in a high-speed developing cross-culture Time, naturally how to appreciate the translation of poetry is of great importance. (Dai Weidong, 2018:130)

===2.The principles of poetry translation appreciation and criticism===

====2.1 What is poetry====

First, it is necessary for us to know what is poetry. Poetry is a kind of literary style that summarizes and reflects the social life. Chinese famous writer Cao Wenxuan once said before that different from the novel, poetry expresses people’s feeling, while novelists write novels that reflect people’s experience. Poetry is the synthesis of experience rather than the experience itself. However, novel presents experience itself and leaves the feelings of experience to reader. In other words, readers need to obtain the feelings of experience by themselves after reading the novel thoroughly. But the poetry conveys the feelings directly, and readers can enjoy the wonderful feelings while reading. Here is an interesting comment about the relationship between poetry and novel: novel describes an awesome house, but poetry presents only the feelings and interjective toward the house. (Li Ming, 2010: 134)

Besides Cao Wenxuan, American poet Frost also has his own unique definition of poetry: Poetry is what has lost in translation. From the perspective of translation, this sentence amply points out the awkwardness and helplessness. Second, it is important to know what is poetry translation appreciation and criticism. Before that, poetry translation should be firstly taken into consideration. Poetry is a synthesis of ideational feelings, situational image, rhymical tempo and internal expression style. Translation poetry should consider these aspects. Translators should strive to transmit the rhymical sound and the spiritual aspects of poetry when they are making the translation readable and easy to be understood. (Ning Huiqin，2009：34) (Li Ming, 2010: 203)

Moreover, the translation of poetry needs the poetic talents of translator. Just as what the famous writer Lao She said:” Translators who have poetic talents should try to translate poetry in the form of poetry, and they also need to make readers not only know the contents of the book but also the way in which how such contents were conveyed." Such comments just explain that besides the expression of meaning, making the original poetry’s style characteristics reoccurring is extremely significant.(Lao She, 1984: 131)

====2.2 Principles of poetry translation====

Now it is time to consider the principles of poetry translation. There is a saying that translation is difficult, especially the translation of literary works among which the poetry translation is far more difficult. This can be seen from the characteristic of poetry which resembles the peak of translation art, and the poetry translation needs to consider the beauty of meaning, sound and words. Therefore, the translation of poetry is a kind of sophisticated and integrate art. When it comes to the issue how to translate poetry, translators have their own unique opinions and perspectives. For example, Guo Moruo put forward the principle of “translating poetry with poetry”; Wen Yiduo supported the principle of “using the pen of poetry to translate poetry”.(Guo Moruo,1979:144)

Moreover, some other translators put forward that poetry translation has two principles. Principle one is that poetry translation should pay attention to avoid the commonization of language. That is to say if translators translate poetry with plain and common even inflexible words and expressions and ignore the unique characteristics of poetic language and the individual poet’s language characteristics, which would not only fail to keep the original poetry’s expressional style but also fail to convey the spiritual soul of the original poetry (Liao Siping, Zhang Yu, 2007: 53). The other principle prescribes that the poetry translation should avoid the nationalization of poetry form. For example, it would make the poetry translation neither fish nor fowl even vulgarization if we translate the foreign poetry into our Chinese neat and uniform poetry forms like a poem with five characters in a line or with seven characters in a line or even the folk song style compulsively (Liao Siping, Zhang Yu, 2007: 53-54)

Last but not least, poetry translation is a process of recreation. What does it mean? That is to say when translators are translating poetry, they not only need to maintain the original condition in which the poetry is written but also be able to be flexible appropriately. As for this point, Song Yinghao professor in Tai Wan, China once said that in the process of translation the translators need to be invisible. And he also supported the principles of “translating poetry with poetry”. Actually, after having a thorough understanding of what is poetry translation and some of the principles of poetry translation, it is not so difficult for us to understand that poetry is an organic synthesis. Poetry itself is a life body. Therefore, the translation of poetry also needs to be a “life body”, and translators have to make the vivid situations that occur in the original poetry reoccurring in the translation versions poetry.（Liao Siping, Zhang Yu, 2007: 53）

Now it is time to consider the principles of poetry translation. There is a saying that translation is difficult, especially the translation of literary works among which the poetry translation is far more difficult. This can be seen from the characteristic of poetry which resembles the peak of translation art, and the poetry translation needs to consider the beauty of meaning, sound and words. Therefore, the translation of poetry is a kind of sophisticated and integrate art. When it comes to the issue how to translate poetry, translators have their own unique opinions and perspectives. For example, Guo Moruo put forward the principle of “translating poetry with poetry”; Wen Yiduo supported the principle of “using the pen of poetry to translate poetry”.

Moreover, some other translators put forward that poetry translation has two principles. Principle one is that poetry translation should pay attention to avoid the commonization of language. That is to say if translators translate poetry with plain and common even inflexible words and expressions and ignore the unique characteristics of poetic language and the individual poet’s language characteristics, which would not only fail to keep the original poetry’s expressional style but also fail to convey the spiritual soul of the original poetry (Liao Siping, Zhang Yu, 2007: 53). The other principle prescribes that the poetry translation should avoid the nationalization of poetry form. For example, it would make the poetry translation neither fish nor fowl even vulgarization if we translate the foreign poetry into our Chinese neat and uniform poetry forms like a poem with five characters in a line or with seven characters in a line or even the folk song style compulsively (Liao Siping, Zhang Yu, 2007: 53-54)

====2.3 What is criticism and appreciation of poetry translation====

Later, there is no doubt that we need principles to prescribe our behavior of poetry translation criticism and appreciation . Some influential translators have put forward lots of meaningful poetry translation principles. Actually, the principles of poetry translation are one of the most important criteria of criticism and appreciation of poetry translation. Under the guidance of such principles the translators have the possibility to smooth the process of translation without losing the original amaze of the poetry. At the same time, these important principles can also be used to check if the translators have obeyed them or not. Thus, one of the ways in which the critics do the literary criticism occurs. By the way, translators' subjectivity can not be ignored at the same time. Because translation can be seen as a recreation process, thus the translators can make their subjectivity work in this process. Through the integrate consideration of the original poetry creation condition and the readers’ cultural background, translators are able to translate the poetry wonderfully thus making the purpose of transmitting culture and literature realized.(Xu Jun, 2009: 156)

====2.4 Principles of criticism and appreciation of poetry translation====

Later, there is no doubt that we need principles to prescribe our behavior of poetry translation appreciation and criticism. Some influential translators have put forward lots of meaningful poetry translation principles. Actually, the principles of poetry translation are one of the most important criteria of poetry translation appreciation and criticism. Under the guidance of such principles the translators have the possibility to smooth the process of translation without losing the original amaze of the poetry. At the same time, these important principles can also be used to check if the translators have obeyed them or not. Thus, one of the ways in which the critics do the literary criticism occurs. By the way, translator’s subjectivity can not be ignored at the same time. Because translation can be seen as a recreation process, thus the translators can make their subjectivity work in this process. Through the integrate consideration of the original poetry creation condition and the readers’ cultural background, translators are able to translate the poetry wonderfully thus making the purpose of transmitting culture and literature realized. (Zhou Yi & Luo Ping, 2005: 167)

===3.Comparative analysis of different translations of poetry===

In this part, it is necessary to make some comparative analysis between different versions of translation so as to do the poetry translation appreciation and criticism. As we all known, translation is also a process in which the translators try to recreate and translate. Translators are the creators at the same time. Because of their different culture background, educational background, their translation experience and some other factors, different translators can create different versions of poetry. Therefore, in this process we can experience how the translators construct and create the translation based on their embodied experience and professional quality.

It is not uncommon that the same poetry may have different versions of translation. And the appreciation of translation is to analyze how the translators translate it and why they would try to translate in such a way. At the same time, translation appreciation is not just a process to appreciate it, it is also a process to learn. Translation can be seen as a bridge that relates the reader and the writer in different language background. Without translation, it is impossible to transmit the beauty and amaze of literary works to more people, not less achieving a grandeur and multi-cultural literature feast. The translators are like the builder of the bridge, and their subjective factors including attitude, spirit as well as objective factors involving building method, the natural factors and so on are a unified system that would influence how the builders construct the bridge. It is believed that there are no best versions of translation, but better one. Therefore, the unlimited nature of translation makes it possible for us to make a comparison between kinds of versions, because there is no best translation but better one.

English poetry is like an endless sea in which different kind of poets devote themselves to the poetry creation. Because of the limited writing space, I will choose one of the famous and significant English poetries and its corresponding translation versions of Chinese. Then it is necessary to analyze the different aspects of the different translation versions of the same poetry. It is a common place that the same poetry can be translated into various versions. At this time, which version is better and the reasons need to be explained.
For example, a woman went to a shop to buy clothes. And she had tried so many dresses, shirts and blouses, etc. Then she needs criteria to help her decide which one she would like to buy. The criteria can be set by different people in various ways. But the woman is unique and she cannot be replaced by others, how about the clothes? Different clothes designers have different design rules and principles, and then we have such a colorful and multi-modal clothing world. Just like this, poetry translators are the clothing designers, and the different kinds of clothes resemble the various versions of translations. Like the cloth designers, the poetry translators have the right to recreate, but only on the basis of remaining the original colors and styles of the source poetry. Or it will make the poetry translations neither fish nor fowl. ( Li Ming, 2010: 204)

Let’s look at some examples of the poetry translation versions and try to make a comparative analysis between them. “A psalm of life” is the work of the excellent American Romanticism poet Henry Wordsworth Long Fellow. In 1839, Long Fellow published his first series of poems “Voice of the Night” in which the famous A Psalm of Life, A Psalm of Night were included. Long Fellow’s poems are elegant, plain and clear. His poems have greatly influenced American literature, and his poems were translated into more than twenty kinds of versions in different languages. In 'A Psalm of Life', Long Fellow praises life positively, which reflects the American people’s sound in the heart, and at that time, American capitalism has entered a period of vigorous development. According to Qian Zhongshu’s research, the Chinese version of ''A Psalm of Life'' is the first western poem being translated into Chinese. It was the Dong Xun, the Ministry of Revenue in Xian Feng period of the Qing dynasty, that first translated ''A Psalm of Life'' in the form of seven words in a line. However, the translation at that time was not so good, so it even aroused the old intellectuals’ contempt for western literature. Later, thanks to the appearance of new versions of translation of ''A Psalm of Life'', it widely circulated in China (Li Ming, 2010: 206-207).

Now let us try to analyze the different translation versions of ''A Psalm of Life''. First, let’s look at the original contents of this poem.

''A Psalm of Life''

Henry Wordsworth Long Fellow

Tell me not in mournful numbers,

Life is but an empty dream!

For the soul is dead that slumbers,

And things are not what they seem.

Life is real! Life is earnest!

And the grave is not its goal;

Dust thou art, to dust returnest,

Was not spoken of the soul.

Not enjoyment, and not sorrow,

Is our destined end or way;

But to act, that each tomorrow

Finds us farther than today.

Art is long, and time is fleeting,

And our hearts, though stout and brave,

Still, like muffled drums, are beating

Funeral marches to the grave.

In the world’s broad field of battle,

In the bivouac of life,

Be not like dumb, driven cattle!

Be a hero in the strife!

Trust no Future, howe’er pleasant!

Let the dead Past bury its dead!

Act—act in the living Present!

Heart within, and God’s o’erhead!

Lives of great men all remind us

We can make our lives sublime,

And, departing, leave behind us

Footprints on the sands of time;

Footprints that perhaps another,

Sailing o’er life’s solemn main,

A forlorn and shipwrecked brother,

Seeing, shall take heart again.

Let us, then, be up and doing,

With a heart for any fate;

Still achieving, still pursuing,

Learn to labour and to wait.

This poem is short but powerful with ample contents and lucid structure, showing readers strong emotional shock. The whole poem consists of nine stanzas, and each stanza has four verse lines, therefore, thirty-six lines in all. It can be divided into four parts to discuss the life in the eye of Long Fellow. The first two stanzas mainly correct the wrong and depraved argument that “life is but an empty dream”, and tell readers that “Life is real! Life is earnest!”

From the third stanza to the sixth stanza, Long Fellow discussed the issue that how to live life and suggest people act in the living present, which is the theme of this poetry. The seventh and the eighth stanza highlights the virtue and meaning of life. At the same time, the example of great people is used to encourage readers. Only the people who act in the living present can be remembered thus leaving footprints on the sands of time. This corresponds to what has been discussed in the second paragraph: Only the body will disappear, but not the soul of people. A person’s soul would be immortal because of the glory of life.

The last stanza are the summary and sublimation of the whole poetry. Long Fellow appeals to readers that they should act in the living present and be brave to confront the challenges in life. Finally, the poet summarizes the poetry with a thought-provoking sentence: “Still achieving, still pursuing.”, which corresponds to the subject of the poetry——acting in the living present. The poetry is full of the optimistic spirit and ample passion, and the poetry expresses the poet’s enthusiasm and pursuit of life as well as the positive and hardworking life attitude, criticizing the decadent attitude of life is but an empty dream.
Now let us see the Chinese versions of translations of A Psalm of Life. ( the author of this paper's analysis of ''A Psalm of Life'')

译文一：

'''生命的礼赞'''

别用悲伤的语调对我呻吟，

“人生不过是梦幻一场”！

因为沉睡中的灵魂已经死去，

万物并非它们显示的模样。

生命是真实的！生活是严肃的！

它们的终点决不是坟场；

“你来自尘土，必归于尘土”；

但这是指肉体，灵魂并未死亡。

我们注定的结局和道路，

既不是享乐，也不是悲伤；

而是行动，为了每一个明天，

使我们比今天走得更远更长。

艺术长久，韶光飞逝，

我们的心尽管英勇而坚强，

却仍像阵阵低沉的鼓声，

正朝着坟墓把哀乐敲响。

在世界辽阔的战场上，

在生命的露宿的营地上，

别作默默无声、任人驱使的牛羊，

要在战斗中当一名闯将！

莫信托未来，不管它怎样欢畅！

让逝去的岁月将死者埋葬！

行动吧，就在活着的此刻行动！

胸内有红心，头顶有上苍！

伟大的人物的生平把我们提醒，

我们能使我们的一生变得高尚，

在离开人间时，也能让足印

遗留在我们身后的时间的沙滩上。

呵，足印！也许另一位弟兄，

当他航行在生命庄严的海洋上，

不幸遇难，看见了这些足印，

他就会使勇气重新增长。

那么让我们振奋起来行动吧，

我们准备迎接任何命运的风浪；

永远要有所作为，不断追求，

学会劳动，也学会等待和期望。

（黄新渠译）

译文二

'''生之颂'''

别用悲切的诗句对我唱：

“人生只是虚幻的梦一场！”

因为昏睡的灵魂已死亡，

而事物不是看来那模样。

人生多真切！它绝非虚度！

一抔黄土哪里会是它的归宿；

“你来自泥尘，得重归泥尘，”

这句话所指的并不是灵魂。

我们命定的终点和道路

既不是享乐，也不是悲苦；

行动吧；要让每一个明天

发现我们比今天走得远。

学艺费光阴，时日去匆忙，

任我们的心勇敢又坚强，

依然像一些蒙住的鼓——

敲打着哀乐走向那坟墓。

在风云世界的广阔战场，

在人生征途的野宿营帐，

别像默默的牛羊任驱赶！

要争做英雄，能征惯战！

将来再美好也别空指望！

让死的过去把死的埋葬！

干！在活生生的现在就干！

胸中是赤心，上帝在云端！

伟人的生平向我们指出：

我们能使此生超群脱俗——

一朝逝去，时间的沙滩上

将留下我们的脚印行行。

在庄严的生活之海航行，

也许有兄弟会遭到不幸，

会因为航船沉没而绝望——

但见那脚印，又变得顽强。

让我们挺起身，行动起来，

凭对付任何的胸怀，

不断去收获，不断去追求；

永远在学着苦干和等候。

（黄杲忻译）

译文三

'''生之颂'''

莫向我吟唱，哀戚之词

叹生如梦境，虚无所炽

灵魂之沉睡，恍若长辞

而世间万物，伪装如缁

因孤坟荒土，非我命旨

因生之馥郁，真切如是

既生于尘滞，复归尘滞

而九天魂灵，长存如诗

决不为欢声，抑或悲思

我生之所往，道长如斯

集快马长剑，日日疾驰

待明日细数，功成如此

任艺业无涯，光阴飞逝

彼壮士之心，英勇无疵

奈战鼓哀亡，冢林墓石

怜其怨其殇，命魂所指

观我生所在，浮华乱世

观风云乾坤，辽阔如帜

斯牛羊傀儡，安得其实

唯浴血烽火，终成其事

纵欢娱无尽，未来未至

任亡者葬弃，过往已失

上苍行其道，我执其旨

即可启征铎，不枉今日

伟人之不朽，可为典示

倾我之所能，亦足至此

反肉身凡胎，终有一死

然我将留痕，流光之坻

望生命之海，风急浪蚀

念天行无常，苦难游子

而前人足迹，必将明示

纵满盘皆输，壮志不失

集生之全力，勿候勿止

有备则无惧，命运之矢

独精我所行，逐我所适

且耕且守望，丰收之时

（张瑶译）

First of all, in terms of the title, the first translation is a tribute to life, and the second translation uses the song of life. The topic of the second translation is concise and clear, and the writing style is more ancient. The translation is relatively easy to understand in terms of overall translation, and the language is relatively plain and life-oriented. The first sentence "Tell me not in mournful numbers", the three translations have their own emphasis, the first translation is "Don't whisper to me in a sad tone", the "tell" is translated as "低吟"; the second translation is "Tell" is translated as "唱"; the third translation is translated as "吟唱".

For "Life is but an empty dream", translators of the first and second translations both translated it as "Life is just an illusory dream", which basically achieves the effect of "expressing meaning", while the third translation is translated as "sorrowful words", the author believes that it is biased, because it does not convey the charm of "life is like a dream" in the original text, and it misses the meaning of dreams. In addition, the full text of the third translation is neatly aligned, and the rhythm is the same as the original. The first line and the third line are rhythmical, and the second and fourth lines are also rhythmical. This reproduces the style of the original text. In this aspect, translation one and translation two do not do so well. Translation two rhymes with the first and second lines; the third and the fourth lines rhyme also; version one hardly rhymes.

In the second stanza, the translation of "Life is real, life is earnest!" translates two "life" into "生命" and "生活" respectively. They are neatly opposed, but they may misinterpret the meaning of the original poem. Life is here. What exactly is meant needs to be carefully considered. In the second translation, "life" is translated as “人生", and "life is earnest!" is translated as "it is not in vain". This is a conversion of positive and negative translation, which surprises readers.
For “Dust thou art, to dust returnest, Was not spoken of the soul”, version one translated it as “你来自尘土，必将归于尘土，但这指的是肉体，灵魂并未死亡”，version one added the meaning of “it refers to the body”, making this sentence easier to be understood. Version three translated it as “既生于尘滞，复归尘滞，而九天魂灵，长存如诗“.In this translation, the translators thinks that human’s soul would not disappear, and it would last forever like poetry. However, we know that in Long Fellow’s opinion, human’s soul would remain immortal because of the glory of their life, but not because of the poetry. Therefore, here translation version three failed to convey the original meaning of the sentence. About the third paragraph, “But to act, that each tomorrow finds us father than today”, about this sentence, version two successfully maintain the original rhetorical device——personalization here, and translated it into” 要让每一个明天发现我们比今天走得远“.Version three writes that”集快马长剑，日日疾驰，待明日细数，功成如此“，which is too far away from the original text, and it cannot reoccur the amaze of the source poetry.

In the fourth stanza, “Art is long, and time is fleeting, And our hearts ……are beating Funeral marches to the grave.” Version one translated it as” 艺术长久，时光飞逝，我们的心尽管英勇而坚强“，version two translated it as “学艺费光阴，时日去匆忙，任我们的心勇敢又坚强”； translator in version three translated it as “任艺业无涯，光阴飞逝，彼壮士之心，英勇无疵”.From the sentence structure we can find that, the former two versions convey the original meaning better because we know that in this paragraph, here exists a comparison between the facts that our heart is brave and the facts that our heart is like a muffled drum which is beating funeral marches to the grave. Therefore, here should be words in the former part, here the words are “尽管“”任“. However, in the version three, the word”任” is used to decorate the ”art is long and time is fleeting.”, such transference actually has misinterpreted the meaning of the original text.

In the fifth stanza, “Be not like dumb, driven cattle! Be a hero in the strife!”, this sentence is translated into three different versions. Version one:”别作默默无声、任人驱使的牛羊，要在战斗中当一名闯将！”；Version two: “别作默默的牛羊任驱赶！要争取做英雄，能征惯战！”；Version three：“斯牛羊傀儡，安得其实，唯浴血烽火，终成其事”. Comparatively, version one is more flexible, because there is no limit in the number of the words in a line. But in version two, each line must have ten words, and in version three, each line has 8 words, which is set stable. Besides, version two and three separately added the external meaning of “能征惯战““终成其事”，but in the original text it is “Be a hero in the strife”, therefore, the two versions make some external decorations to the sentence.

In the sixth stanza, “Act—act in the living Present! Heart within, and God’s o’erhead!” version one goes that:”行动吧，就在活着的此刻行动！胸内有红心，头顶有上苍！”；version two goes that”干！在活生生的现在就干！胸中是赤心，上帝在云端！”；Translator in version three goes that”上苍行其道，我执其旨，即刻起征铎，不枉今日“；In the three versions, the former two versions are easier to understand, while the third one is more abstract because it transfers the role and function of “God”. Originally, God only is overhead, however, in version three, its function has changed, and also here the “act” is translated into”我行其旨”， which means that human’s action is actually obeying the hints of the God. This translation can better help readers understand why the poet put “God is overhead” here, which reflects the culture and religion of the western country, but in version one and two, such relationship is not so clear. All in all, the three versions have their own advantages and disadvantages, which are decided by the translators’ choice of expressions and their understanding of the poetry.

In the seventh stanza, “Lives of great men ……on the sands of time”, as for this sentence’s translation, version one goes that”伟大的人物的生平..我们也能使我们的一生变得高尚，在离开人间时，也能让足印……身后的时间的沙滩上” ；version two goes that“伟人的生平向我们指出：我们能使此生超群脱俗——一朝逝去，时间的沙滩上将留下脚印行行”；version three goes that“伟人之不朽，可为典示，倾我之所能，亦足至此，反肉身凡胎，终有一死，然我将留痕，流光之坻”；Similarly，the former two versions are more readable and easy to understand. However, the third version is far more beautiful and elegant, according to the principle that poetry translation is different from the daily conversation, and the expressions need to be elegant and beautiful. By enjoying the third translation, readers can fully and satisfactorily obtain the beauty and poet’s philosophic theory included in the poetry.

In the eighth stanza, “Footprints that perhaps another… Seeing, shall take heart again.”
Version one goes that“呵，足印！也许另一位弟兄，当他航行在生命庄严的海洋上，不幸遇难，看见了这些足印，他就会使勇气增长”；version two goes that“ 在庄严的生活之海航行，也许有兄弟会遭遇不幸，会因为航船沉没而绝望——但见那脚印，又变得顽强”； version three goes that “ 望生命之海，风急浪蚀，念天行无常，苦难游子，而前人足迹，必将明示，纵满盘皆输，壮志不失” These three translation versions have different effects upon readers. Version one did not translate the “shipwrecked” directly as “航船沉没“， but rather translated it as “不幸遇难”，which is actually more concise than version two”遭遇不幸，会因为航船沉没而绝望“. The three versions successfully achieve the effect of metaphor and translated it into”生命之海”,which can make the meaning of the original text more clear and vivid. Besides, the version three adds some special Chinese expressions such as “满盘皆输”“壮志不失”“苦难游子”“天行无常”， which are easy to understand for Chinese readers, however, it is not so easy for the other language speaking readers, so it is better to add some annotation in order to smooth the understanding.

In the ninth stanza, the poet summarize and sublime the theme of the poetry with “Still achieving, still pursuing, learn to labour and to wait.” Version one goes that”永远要有所作为，不断追求，学会劳动，也学会等待和期望。”；version two goes that“不断去收获，不断去追求；永远在学着苦干和等候。”；version three goes that “独精我所行，逐我所适，且耕且守望，丰收之时”. In version one, the word “labour” is translated as “劳动”,which is not so appropriate exactly. Version two translated it as“苦干”，and this is better because it is corresponding to the theme of this poetry——keeping acting in the living present. Version three, however, translated it into”耕“，which has the cultural meaning for readers. In China, “耕”means labour, and it is easy to understand.

===4. Conclusion===

Criticism and appreciation of poetry translation, just like poetry translation, it needs various principles to support it. Before you can make the poetry translation appreciation and criticism, it is necessary for you to know what is poetry and what are the principles of poetry translation. Various translators put forward different poetry writing and translating principles, which are also helpful for critics to appreciate the poetry translation.

The three versions of translation of ''A Psalm of Life'' successfully convey the meaning of the whole poetry to some extent, however, different versions have some differences in some detailed sentences because of the translator's different cultural backgrounds and translation strategies their respective translator chose. However, there is no doubt that the three are good translations, and they greatly help readers understand the original text better. In the process of appreciation and criticism, people can also learn how to translate poetry better, and this is a process of mutual promotion. Last but not least, the comparative analysis of different translations of poems is conducive for reader's understanding towards poems in front of the transcultural background. However, about criticism and appreciation of poetry translation, much more efforts are needed to explore more important methods of criticism and appreciation. There is still a long way to go.

===5. References===

M. A. R. Habib (2011). Literary Criticism from Plato to the Present [M]. Wiley-Blackwell A John Wiley & Sons, Inc, Publication.

Huang Gaoxin 黄杲炘（1986）. 英国抒情诗100首 100 British Lyrics [M]. 上海译文出版社. Shanghai Translation Press.

Lao She 老舍（1984）. 谈翻译 About Translation [A]. 翻译研究论文集 Collection of Essays on Translation Research [C]. 北京 Peking: 外语教学与研究社 Foreign Language Pedagogy and Research Press.

Li Ming 李明（2010）. 翻译批评与鉴赏 [M]. Transaction Criticism and Appreciation. 武汉 Wuhan: 武汉大学出版社 Wuhan University Press.

Liao Siping, Zhang Yu (2007). 用心和眼睛传递诠释灵魂的艺术——袁可嘉的外国诗歌翻译 [J]. Delivering and interpreting the art of soul with heart and eyes—Yuan Kejia's Translation of Foreign Poems[J]. 中国翻译 China Translation.

Ning Huiqin 宁会勤（2009）. 从《多佛海岸》浅析诗歌翻译 [J]. Analysis of Poetry Translation from ''Dover Strait'' [J]. 读与写杂志 Journal of Reading and Writing.

Yang Xiaorong 杨晓荣（2005）. 翻译批评导论 [M]. Introduction to Translation Criticism [M]. 北京 Peking: 中国对外出版翻译公司 China Foreign Publishing and Translation Corporation.

Xu Jun 许钧（2009）. 翻译概论 [M]. Introduction to Translation [M]. 北京 Peking: 外语教学与研究出版社 Foreign Language Pedagogy and Research Press.

Zhou Yi & Luo Ping (2005). 翻译与批评 [M]. Translation and Criticism [M]. 武汉 Wuhan: 湖北教育出版社 Hubei Education Press.

Guo Moruo 郭沫若（1979）. 讨论注释运动及其他 [M]. Discuss annotation campaigns and others [M]. 重庆 Chong Qing: 西南人民出版社 Southwest People's Press.

Dai Weidonf 戴炜栋（2018）. 新编简明英语语言学教程 [M]. A New Concise Course in Linguistics for Students of English [M]. 上海 Shanghai: 上海外语教育出版社 Shanghai Foreign Language Education Press.

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Zhu Suzhen: /* 2.4 Principles of poetry translation appreciation and criticism */

Quicklink back to the overview page [[Translation Theories Applied to Literary Translations|Overview Page of Translation Theories Applied to Literary Translations]]

Chapter [[Theor_App_Lit_EN_1]]

=1 Criticism and appreciation of poetry translation ——taking ''A Psalm of Life'' as an example=

诗歌翻译批评与鉴赏——以《人生礼赞》为例

朱素珍 Zhu Suzhen, 202120081561,Hunan Normal University, China

===Abstract===
It is not difficult to translate poetry, and large quantities of translators and writers have provided us uncountable excellent translations of poetry. Unlike poetry translation, the criticism and appreciation of poetry translation is far more complicated. Despite of the complexity of the criticism and appreciation of poetry translation, some of the translators and ctitics have devoted themselves to it, and some breakthroughs have been made. Translators like Guo Moruo, Wen Yiduo, Li Ming, etc put forward their unique and thought-provoking principles of criticism and appreciation of poetry translation. These principles play an important role in the appreciation of poetry translation. Because of the great changes with our life and society, people live in a transcultural environment which develops in high speed.Is the criticism and appreciation of poetry translation conducive to the readers' understanding of the poetry in front of the transcultural background? How can critisiam and appreciation of poetry influenced reader's understanding of poetry? These questions are the focus of this paper. The author of this paper would mainly discuss the criticism and appreciation of poetry translation based on the comparative analysis of different versions of translation of the same poetry——''A Psalm of Life'', written by Henry Wordsworth Long Fellow. After the comparative analysis of three versions, whether the cultural factor has been considered or not can be uncovered clearly. Furthermore, in the process of criticism and appreciation, readers can also learn how to translate the poetry properly. Besides, such a method of analysis is also conducive to readers' appreciation of poetry translation in front of the transcultural background, which is inspiring and instructive.

===摘要===
翻译诗歌并不难，一大批译者和作家为我们提供了无数优秀的诗歌译本。与诗歌翻译不同，诗歌翻译的批评和鉴赏要复杂得多。尽管诗歌翻译的批评和鉴赏很复杂，一些译者和批评家都投入其中，并取得了一些突破。郭沫若、闻一多、李明等译者提出了自己独特的、发人深省的诗歌翻译批评与鉴赏原则。这些原则在诗歌翻译的鉴赏中起着重要的作用。由于我们的生活和社会发生了巨大的变化，人们生活在一个高速发展的跨文化环境中。诗歌翻译的批评和欣赏是否有利于读者在跨文化背景下理解诗歌？对诗歌的批评和欣赏如何影响读者对于诗歌的理解？这些问题是本文的重点。本文作者主要通过对同一首诗的不同译本的比较分析来探讨诗歌翻译的批评与鉴赏——以亨利·沃兹沃思·朗费罗所著《生命礼赞》为例，通过对三个版本比较分析，可以一目了然地看到文化因素是否被考虑进去了。此外，读者在诗歌翻译批评与鉴赏的过程中，也能学会如何正确地翻译诗歌，这样的分析方法也有利于读者在跨文化背景下欣赏诗歌翻译，具有启发性。

===Key words===
poetry translation; appreciation and criticism; comparative analysis; transcultural background

===关键词===
诗歌翻译; 批评与鉴赏；比较分析; 跨文化背景

===1. Introduction===
Varieties of human emotions and feelings can be recorded and transmitted by the form of poetry, which is an essential part of human life. For China, poetry has played a special and crucial role since the ancient times, with Tang dynasty as its peak period of development. Due to the powerful emotional expressiveness of poetry, many poets have adopted this genre for literary creation, producing rich and colourful poetry culture. Piles of wonderful poems have appeared like mushrooms after the rain. Not only in China, universal and common for humankind, poetry was chosen by quantities of western poets including Percy Bysshe Shelley, Robert Burns, Emily Dickinson, etc.

According to Aristotle, literature should have the function of purifying people's minds (Catharsis), that is to say, to educate them. Poetry makes it possible for poets to imitate and express their feelings toward the world. When the readers are reading the poetry, they can feel the emotions of the poet, for example the happiness, the sadness, the love for the nature, etc. There are not only the positive poets, and there are also the nagative poets who expressed negative attitude towards the world. About such negative attitude, readers can criticize it. During the process of appreciation and criticism, their virtue can be promoted, so they can reach a higher level of morality. Opposed to Aristotle, in Plato’s opinion, poetry is the second removal from reality, and it is a great danger for the unity of philosophy. Moreover, the poets should be exiled, and there should be strict censorship for the publication of poetry. Different philosophers have different ideas about poetry. And different poets can create different kinds of poems with rich titles and versatile structures. (M. A. R. Habib, 2011:10-18)

Besides, people speaking in different language and living in exotic culture are capable to write the poetry that is special to them. Such special point is stemming from the difference of language and culture. People are not unfamiliar with Sapir Wolf’s Theory of Linguistic Relativity which put forward that language decides how people think. It is such a strong and even a little decisive theory. However, it at least uncovers the relationship between language and culture. It is understandable that language is to some extent reflects how people are thinking， and the thinking can further show the influence of culture in the process of communication. For example, in China, people would say” Have you eaten?” when they meet each other occasionally. But the Chinese are not intentionally asking whether the hearer has eaten or not, and they are only expressing a kind of greeting. (Dai Weidong, 2018:128)

Therefore, when the foreigners hearing such a sentence, they would get confused. This is a typical example showing the culture’s important role in communication. Except for the spoken communication, culture would also influence the translation of literary works, such as poetry, novel and play, etc. In the translation of poetry, a professional translator has to put the factor of culture into consideration well in order to achieve a high-quality translation effect. Actually, poetry cross-culture translation is always an inevitable issue for translation, especially today we are in a high-speed developing cross-culture Time, naturally how to appreciate the translation of poetry is of great importance. (Dai Weidong, 2018:130)

===2.The principles of poetry translation appreciation and criticism===

====2.1 What is poetry====

First, it is necessary for us to know what is poetry. Poetry is a kind of literary style that summarizes and reflects the social life. Chinese famous writer Cao Wenxuan once said before that different from the novel, poetry expresses people’s feeling, while novelists write novels that reflect people’s experience. Poetry is the synthesis of experience rather than the experience itself. However, novel presents experience itself and leaves the feelings of experience to reader. In other words, readers need to obtain the feelings of experience by themselves after reading the novel thoroughly. But the poetry conveys the feelings directly, and readers can enjoy the wonderful feelings while reading. Here is an interesting comment about the relationship between poetry and novel: novel describes an awesome house, but poetry presents only the feelings and interjective toward the house. (Li Ming, 2010: 134)

Besides Cao Wenxuan, American poet Frost also has his own unique definition of poetry: Poetry is what has lost in translation. From the perspective of translation, this sentence amply points out the awkwardness and helplessness. Second, it is important to know what is poetry translation appreciation and criticism. Before that, poetry translation should be firstly taken into consideration. Poetry is a synthesis of ideational feelings, situational image, rhymical tempo and internal expression style. Translation poetry should consider these aspects. Translators should strive to transmit the rhymical sound and the spiritual aspects of poetry when they are making the translation readable and easy to be understood. (Ning Huiqin，2009：34) (Li Ming, 2010: 203)

Moreover, the translation of poetry needs the poetic talents of translator. Just as what the famous writer Lao She said:” Translators who have poetic talents should try to translate poetry in the form of poetry, and they also need to make readers not only know the contents of the book but also the way in which how such contents were conveyed." Such comments just explain that besides the expression of meaning, making the original poetry’s style characteristics reoccurring is extremely significant.(Lao She, 1984: 131)

====2.2 Principles of poetry translation====

Now it is time to consider the principles of poetry translation. There is a saying that translation is difficult, especially the translation of literary works among which the poetry translation is far more difficult. This can be seen from the characteristic of poetry which resembles the peak of translation art, and the poetry translation needs to consider the beauty of meaning, sound and words. Therefore, the translation of poetry is a kind of sophisticated and integrate art. When it comes to the issue how to translate poetry, translators have their own unique opinions and perspectives. For example, Guo Moruo put forward the principle of “translating poetry with poetry”; Wen Yiduo supported the principle of “using the pen of poetry to translate poetry”.(Guo Moruo,1979:144)

Moreover, some other translators put forward that poetry translation has two principles. Principle one is that poetry translation should pay attention to avoid the commonization of language. That is to say if translators translate poetry with plain and common even inflexible words and expressions and ignore the unique characteristics of poetic language and the individual poet’s language characteristics, which would not only fail to keep the original poetry’s expressional style but also fail to convey the spiritual soul of the original poetry (Liao Siping, Zhang Yu, 2007: 53). The other principle prescribes that the poetry translation should avoid the nationalization of poetry form. For example, it would make the poetry translation neither fish nor fowl even vulgarization if we translate the foreign poetry into our Chinese neat and uniform poetry forms like a poem with five characters in a line or with seven characters in a line or even the folk song style compulsively (Liao Siping, Zhang Yu, 2007: 53-54)

Last but not least, poetry translation is a process of recreation. What does it mean? That is to say when translators are translating poetry, they not only need to maintain the original condition in which the poetry is written but also be able to be flexible appropriately. As for this point, Song Yinghao professor in Tai Wan, China once said that in the process of translation the translators need to be invisible. And he also supported the principles of “translating poetry with poetry”. Actually, after having a thorough understanding of what is poetry translation and some of the principles of poetry translation, it is not so difficult for us to understand that poetry is an organic synthesis. Poetry itself is a life body. Therefore, the translation of poetry also needs to be a “life body”, and translators have to make the vivid situations that occur in the original poetry reoccurring in the translation versions poetry.（Liao Siping, Zhang Yu, 2007: 53）

Now it is time to consider the principles of poetry translation. There is a saying that translation is difficult, especially the translation of literary works among which the poetry translation is far more difficult. This can be seen from the characteristic of poetry which resembles the peak of translation art, and the poetry translation needs to consider the beauty of meaning, sound and words. Therefore, the translation of poetry is a kind of sophisticated and integrate art. When it comes to the issue how to translate poetry, translators have their own unique opinions and perspectives. For example, Guo Moruo put forward the principle of “translating poetry with poetry”; Wen Yiduo supported the principle of “using the pen of poetry to translate poetry”.

Moreover, some other translators put forward that poetry translation has two principles. Principle one is that poetry translation should pay attention to avoid the commonization of language. That is to say if translators translate poetry with plain and common even inflexible words and expressions and ignore the unique characteristics of poetic language and the individual poet’s language characteristics, which would not only fail to keep the original poetry’s expressional style but also fail to convey the spiritual soul of the original poetry (Liao Siping, Zhang Yu, 2007: 53). The other principle prescribes that the poetry translation should avoid the nationalization of poetry form. For example, it would make the poetry translation neither fish nor fowl even vulgarization if we translate the foreign poetry into our Chinese neat and uniform poetry forms like a poem with five characters in a line or with seven characters in a line or even the folk song style compulsively (Liao Siping, Zhang Yu, 2007: 53-54)

====2.3 What is criticism and appreciation of poetry translation====

Later, there is no doubt that we need principles to prescribe our behavior of poetry translation criticism and appreciation . Some influential translators have put forward lots of meaningful poetry translation principles. Actually, the principles of poetry translation are one of the most important criteria of criticism and appreciation of poetry translation. Under the guidance of such principles the translators have the possibility to smooth the process of translation without losing the original amaze of the poetry. At the same time, these important principles can also be used to check if the translators have obeyed them or not. Thus, one of the ways in which the critics do the literary criticism occurs. By the way, translators' subjectivity can not be ignored at the same time. Because translation can be seen as a recreation process, thus the translators can make their subjectivity work in this process. Through the integrate consideration of the original poetry creation condition and the readers’ cultural background, translators are able to translate the poetry wonderfully thus making the purpose of transmitting culture and literature realized.(Xu Jun, 2009: 156)

====2.4 Principles of criticism and appreciation of poetry translation====

Later, there is no doubt that we need principles to prescribe our behavior of poetry translation appreciation and criticism. Some influential translators have put forward lots of meaningful poetry translation principles. Actually, the principles of poetry translation are one of the most important criteria of poetry translation appreciation and criticism. Under the guidance of such principles the translators have the possibility to smooth the process of translation without losing the original amaze of the poetry. At the same time, these important principles can also be used to check if the translators have obeyed them or not. Thus, one of the ways in which the critics do the literary criticism occurs. By the way, translator’s subjectivity can not be ignored at the same time. Because translation can be seen as a recreation process, thus the translators can make their subjectivity work in this process. Through the integrate consideration of the original poetry creation condition and the readers’ cultural background, translators are able to translate the poetry wonderfully thus making the purpose of transmitting culture and literature realized. (Zhou Yi & Luo Ping, 2005: 167)

===3. Comparative analysis of different version of translation of poetry===

In this part, it is necessary to make some comparative analysis between different versions of translation so as to do the poetry translation appreciation and criticism. As we all known, translation is also a process in which the translators try to recreate and translate. Translators are the creators at the same time. Because of their different culture background, educational background, their translation experience and some other factors, different translators can create different versions of poetry. Therefore, in this process we can experience how the translators construct and create the translation based on their embodied experience and professional quality.

It is not uncommon that the same poetry may have different versions of translation. And the appreciation of translation is to analyze how the translators translate it and why they would try to translate in such a way. At the same time, translation appreciation is not just a process to appreciate it, it is also a process to learn. Translation can be seen as a bridge that relates the reader and the writer in different language background. Without translation, it is impossible to transmit the beauty and amaze of literary works to more people, not less achieving a grandeur and multi-cultural literature feast. The translators are like the builder of the bridge, and their subjective factors including attitude, spirit as well as objective factors involving building method, the natural factors and so on are a unified system that would influence how the builders construct the bridge. It is believed that there are no best versions of translation, but better one. Therefore, the unlimited nature of translation makes it possible for us to make a comparison between kinds of versions, because there is no best translation but better one.

English poetry is like an endless sea in which different kind of poets devote themselves to the poetry creation. Because of the limited writing space, I will choose one of the famous and significant English poetries and its corresponding translation versions of Chinese. Then it is necessary to analyze the different aspects of the different translation versions of the same poetry. It is a common place that the same poetry can be translated into various versions. At this time, which version is better and the reasons need to be explained.
For example, a woman went to a shop to buy clothes. And she had tried so many dresses, shirts and blouses, etc. Then she needs criteria to help her decide which one she would like to buy. The criteria can be set by different people in various ways. But the woman is unique and she cannot be replaced by others, how about the clothes? Different clothes designers have different design rules and principles, and then we have such a colorful and multi-modal clothing world. Just like this, poetry translators are the clothing designers, and the different kinds of clothes resemble the various versions of translations. Like the cloth designers, the poetry translators have the right to recreate, but only on the basis of remaining the original colors and styles of the source poetry. Or it will make the poetry translations neither fish nor fowl. ( Li Ming, 2010: 204)

Let’s look at some examples of the poetry translation versions and try to make a comparative analysis between them. “A psalm of life” is the work of the excellent American Romanticism poet Henry Wordsworth Long Fellow. In 1839, Long Fellow published his first series of poems “Voice of the Night” in which the famous A Psalm of Life, A Psalm of Night were included. Long Fellow’s poems are elegant, plain and clear. His poems have greatly influenced American literature, and his poems were translated into more than twenty kinds of versions in different languages. In 'A Psalm of Life', Long Fellow praises life positively, which reflects the American people’s sound in the heart, and at that time, American capitalism has entered a period of vigorous development. According to Qian Zhongshu’s research, the Chinese version of ''A Psalm of Life'' is the first western poem being translated into Chinese. It was the Dong Xun, the Ministry of Revenue in Xian Feng period of the Qing dynasty, that first translated ''A Psalm of Life'' in the form of seven words in a line. However, the translation at that time was not so good, so it even aroused the old intellectuals’ contempt for western literature. Later, thanks to the appearance of new versions of translation of ''A Psalm of Life'', it widely circulated in China (Li Ming, 2010: 206-207).

Now let us try to analyze the different translation versions of ''A Psalm of Life''. First, let’s look at the original contents of this poem.

''A Psalm of Life''

Henry Wordsworth Long Fellow

Tell me not in mournful numbers,

Life is but an empty dream!

For the soul is dead that slumbers,

And things are not what they seem.

Life is real! Life is earnest!

And the grave is not its goal;

Dust thou art, to dust returnest,

Was not spoken of the soul.

Not enjoyment, and not sorrow,

Is our destined end or way;

But to act, that each tomorrow

Finds us farther than today.

Art is long, and time is fleeting,

And our hearts, though stout and brave,

Still, like muffled drums, are beating

Funeral marches to the grave.

In the world’s broad field of battle,

In the bivouac of life,

Be not like dumb, driven cattle!

Be a hero in the strife!

Trust no Future, howe’er pleasant!

Let the dead Past bury its dead!

Act—act in the living Present!

Heart within, and God’s o’erhead!

Lives of great men all remind us

We can make our lives sublime,

And, departing, leave behind us

Footprints on the sands of time;

Footprints that perhaps another,

Sailing o’er life’s solemn main,

A forlorn and shipwrecked brother,

Seeing, shall take heart again.

Let us, then, be up and doing,

With a heart for any fate;

Still achieving, still pursuing,

Learn to labour and to wait.

This poem is short but powerful with ample contents and lucid structure, showing readers strong emotional shock. The whole poem consists of nine stanzas, and each stanza has four verse lines, therefore, thirty-six lines in all. It can be divided into four parts to discuss the life in the eye of Long Fellow. The first two stanzas mainly correct the wrong and depraved argument that “life is but an empty dream”, and tell readers that “Life is real! Life is earnest!”

From the third stanza to the sixth stanza, Long Fellow discussed the issue that how to live life and suggest people act in the living present, which is the theme of this poetry. The seventh and the eighth stanza highlights the virtue and meaning of life. At the same time, the example of great people is used to encourage readers. Only the people who act in the living present can be remembered thus leaving footprints on the sands of time. This corresponds to what has been discussed in the second paragraph: Only the body will disappear, but not the soul of people. A person’s soul would be immortal because of the glory of life.

The last stanza are the summary and sublimation of the whole poetry. Long Fellow appeals to readers that they should act in the living present and be brave to confront the challenges in life. Finally, the poet summarizes the poetry with a thought-provoking sentence: “Still achieving, still pursuing.”, which corresponds to the subject of the poetry——acting in the living present. The poetry is full of the optimistic spirit and ample passion, and the poetry expresses the poet’s enthusiasm and pursuit of life as well as the positive and hardworking life attitude, criticizing the decadent attitude of life is but an empty dream.
Now let us see the Chinese versions of translations of A Psalm of Life. ( the author of this paper's analysis of ''A Psalm of Life'')

译文一：

'''生命的礼赞'''

别用悲伤的语调对我呻吟，

“人生不过是梦幻一场”！

因为沉睡中的灵魂已经死去，

万物并非它们显示的模样。

生命是真实的！生活是严肃的！

它们的终点决不是坟场；

“你来自尘土，必归于尘土”；

但这是指肉体，灵魂并未死亡。

我们注定的结局和道路，

既不是享乐，也不是悲伤；

而是行动，为了每一个明天，

使我们比今天走得更远更长。

艺术长久，韶光飞逝，

我们的心尽管英勇而坚强，

却仍像阵阵低沉的鼓声，

正朝着坟墓把哀乐敲响。

在世界辽阔的战场上，

在生命的露宿的营地上，

别作默默无声、任人驱使的牛羊，

要在战斗中当一名闯将！

莫信托未来，不管它怎样欢畅！

让逝去的岁月将死者埋葬！

行动吧，就在活着的此刻行动！

胸内有红心，头顶有上苍！

伟大的人物的生平把我们提醒，

我们能使我们的一生变得高尚，

在离开人间时，也能让足印

遗留在我们身后的时间的沙滩上。

呵，足印！也许另一位弟兄，

当他航行在生命庄严的海洋上，

不幸遇难，看见了这些足印，

他就会使勇气重新增长。

那么让我们振奋起来行动吧，

我们准备迎接任何命运的风浪；

永远要有所作为，不断追求，

学会劳动，也学会等待和期望。

（黄新渠译）

译文二

'''生之颂'''

别用悲切的诗句对我唱：

“人生只是虚幻的梦一场！”

因为昏睡的灵魂已死亡，

而事物不是看来那模样。

人生多真切！它绝非虚度！

一抔黄土哪里会是它的归宿；

“你来自泥尘，得重归泥尘，”

这句话所指的并不是灵魂。

我们命定的终点和道路

既不是享乐，也不是悲苦；

行动吧；要让每一个明天

发现我们比今天走得远。

学艺费光阴，时日去匆忙，

任我们的心勇敢又坚强，

依然像一些蒙住的鼓——

敲打着哀乐走向那坟墓。

在风云世界的广阔战场，

在人生征途的野宿营帐，

别像默默的牛羊任驱赶！

要争做英雄，能征惯战！

将来再美好也别空指望！

让死的过去把死的埋葬！

干！在活生生的现在就干！

胸中是赤心，上帝在云端！

伟人的生平向我们指出：

我们能使此生超群脱俗——

一朝逝去，时间的沙滩上

将留下我们的脚印行行。

在庄严的生活之海航行，

也许有兄弟会遭到不幸，

会因为航船沉没而绝望——

但见那脚印，又变得顽强。

让我们挺起身，行动起来，

凭对付任何的胸怀，

不断去收获，不断去追求；

永远在学着苦干和等候。

（黄杲忻译）

译文三

'''生之颂'''

莫向我吟唱，哀戚之词

叹生如梦境，虚无所炽

灵魂之沉睡，恍若长辞

而世间万物，伪装如缁

因孤坟荒土，非我命旨

因生之馥郁，真切如是

既生于尘滞，复归尘滞

而九天魂灵，长存如诗

决不为欢声，抑或悲思

我生之所往，道长如斯

集快马长剑，日日疾驰

待明日细数，功成如此

任艺业无涯，光阴飞逝

彼壮士之心，英勇无疵

奈战鼓哀亡，冢林墓石

怜其怨其殇，命魂所指

观我生所在，浮华乱世

观风云乾坤，辽阔如帜

斯牛羊傀儡，安得其实

唯浴血烽火，终成其事

纵欢娱无尽，未来未至

任亡者葬弃，过往已失

上苍行其道，我执其旨

即可启征铎，不枉今日

伟人之不朽，可为典示

倾我之所能，亦足至此

反肉身凡胎，终有一死

然我将留痕，流光之坻

望生命之海，风急浪蚀

念天行无常，苦难游子

而前人足迹，必将明示

纵满盘皆输，壮志不失

集生之全力，勿候勿止

有备则无惧，命运之矢

独精我所行，逐我所适

且耕且守望，丰收之时

（张瑶译）

First of all, in terms of the title, the first translation is a tribute to life, and the second translation uses the song of life. The topic of the second translation is concise and clear, and the writing style is more ancient. The translation is relatively easy to understand in terms of overall translation, and the language is relatively plain and life-oriented. The first sentence "Tell me not in mournful numbers", the three translations have their own emphasis, the first translation is "Don't whisper to me in a sad tone", the "tell" is translated as "低吟"; the second translation is "Tell" is translated as "唱"; the third translation is translated as "吟唱".

For "Life is but an empty dream", translators of the first and second translations both translated it as "Life is just an illusory dream", which basically achieves the effect of "expressing meaning", while the third translation is translated as "sorrowful words", the author believes that it is biased, because it does not convey the charm of "life is like a dream" in the original text, and it misses the meaning of dreams. In addition, the full text of the third translation is neatly aligned, and the rhythm is the same as the original. The first line and the third line are rhythmical, and the second and fourth lines are also rhythmical. This reproduces the style of the original text. In this aspect, translation one and translation two do not do so well. Translation two rhymes with the first and second lines; the third and the fourth lines rhyme also; version one hardly rhymes.

In the second stanza, the translation of "Life is real, life is earnest!" translates two "life" into "生命" and "生活" respectively. They are neatly opposed, but they may misinterpret the meaning of the original poem. Life is here. What exactly is meant needs to be carefully considered. In the second translation, "life" is translated as “人生", and "life is earnest!" is translated as "it is not in vain". This is a conversion of positive and negative translation, which surprises readers.
For “Dust thou art, to dust returnest, Was not spoken of the soul”, version one translated it as “你来自尘土，必将归于尘土，但这指的是肉体，灵魂并未死亡”，version one added the meaning of “it refers to the body”, making this sentence easier to be understood. Version three translated it as “既生于尘滞，复归尘滞，而九天魂灵，长存如诗“.In this translation, the translators thinks that human’s soul would not disappear, and it would last forever like poetry. However, we know that in Long Fellow’s opinion, human’s soul would remain immortal because of the glory of their life, but not because of the poetry. Therefore, here translation version three failed to convey the original meaning of the sentence. About the third paragraph, “But to act, that each tomorrow finds us father than today”, about this sentence, version two successfully maintain the original rhetorical device——personalization here, and translated it into” 要让每一个明天发现我们比今天走得远“.Version three writes that”集快马长剑，日日疾驰，待明日细数，功成如此“，which is too far away from the original text, and it cannot reoccur the amaze of the source poetry.

In the fourth stanza, “Art is long, and time is fleeting, And our hearts ……are beating Funeral marches to the grave.” Version one translated it as” 艺术长久，时光飞逝，我们的心尽管英勇而坚强“，version two translated it as “学艺费光阴，时日去匆忙，任我们的心勇敢又坚强”； translator in version three translated it as “任艺业无涯，光阴飞逝，彼壮士之心，英勇无疵”.From the sentence structure we can find that, the former two versions convey the original meaning better because we know that in this paragraph, here exists a comparison between the facts that our heart is brave and the facts that our heart is like a muffled drum which is beating funeral marches to the grave. Therefore, here should be words in the former part, here the words are “尽管“”任“. However, in the version three, the word”任” is used to decorate the ”art is long and time is fleeting.”, such transference actually has misinterpreted the meaning of the original text.

In the fifth stanza, “Be not like dumb, driven cattle! Be a hero in the strife!”, this sentence is translated into three different versions. Version one:”别作默默无声、任人驱使的牛羊，要在战斗中当一名闯将！”；Version two: “别作默默的牛羊任驱赶！要争取做英雄，能征惯战！”；Version three：“斯牛羊傀儡，安得其实，唯浴血烽火，终成其事”. Comparatively, version one is more flexible, because there is no limit in the number of the words in a line. But in version two, each line must have ten words, and in version three, each line has 8 words, which is set stable. Besides, version two and three separately added the external meaning of “能征惯战““终成其事”，but in the original text it is “Be a hero in the strife”, therefore, the two versions make some external decorations to the sentence.

In the sixth stanza, “Act—act in the living Present! Heart within, and God’s o’erhead!” version one goes that:”行动吧，就在活着的此刻行动！胸内有红心，头顶有上苍！”；version two goes that”干！在活生生的现在就干！胸中是赤心，上帝在云端！”；Translator in version three goes that”上苍行其道，我执其旨，即刻起征铎，不枉今日“；In the three versions, the former two versions are easier to understand, while the third one is more abstract because it transfers the role and function of “God”. Originally, God only is overhead, however, in version three, its function has changed, and also here the “act” is translated into”我行其旨”， which means that human’s action is actually obeying the hints of the God. This translation can better help readers understand why the poet put “God is overhead” here, which reflects the culture and religion of the western country, but in version one and two, such relationship is not so clear. All in all, the three versions have their own advantages and disadvantages, which are decided by the translators’ choice of expressions and their understanding of the poetry.

In the seventh stanza, “Lives of great men ……on the sands of time”, as for this sentence’s translation, version one goes that”伟大的人物的生平..我们也能使我们的一生变得高尚，在离开人间时，也能让足印……身后的时间的沙滩上” ；version two goes that“伟人的生平向我们指出：我们能使此生超群脱俗——一朝逝去，时间的沙滩上将留下脚印行行”；version three goes that“伟人之不朽，可为典示，倾我之所能，亦足至此，反肉身凡胎，终有一死，然我将留痕，流光之坻”；Similarly，the former two versions are more readable and easy to understand. However, the third version is far more beautiful and elegant, according to the principle that poetry translation is different from the daily conversation, and the expressions need to be elegant and beautiful. By enjoying the third translation, readers can fully and satisfactorily obtain the beauty and poet’s philosophic theory included in the poetry.

In the eighth stanza, “Footprints that perhaps another… Seeing, shall take heart again.”
Version one goes that“呵，足印！也许另一位弟兄，当他航行在生命庄严的海洋上，不幸遇难，看见了这些足印，他就会使勇气增长”；version two goes that“ 在庄严的生活之海航行，也许有兄弟会遭遇不幸，会因为航船沉没而绝望——但见那脚印，又变得顽强”； version three goes that “ 望生命之海，风急浪蚀，念天行无常，苦难游子，而前人足迹，必将明示，纵满盘皆输，壮志不失” These three translation versions have different effects upon readers. Version one did not translate the “shipwrecked” directly as “航船沉没“， but rather translated it as “不幸遇难”，which is actually more concise than version two”遭遇不幸，会因为航船沉没而绝望“. The three versions successfully achieve the effect of metaphor and translated it into”生命之海”,which can make the meaning of the original text more clear and vivid. Besides, the version three adds some special Chinese expressions such as “满盘皆输”“壮志不失”“苦难游子”“天行无常”， which are easy to understand for Chinese readers, however, it is not so easy for the other language speaking readers, so it is better to add some annotation in order to smooth the understanding.

In the ninth stanza, the poet summarize and sublime the theme of the poetry with “Still achieving, still pursuing, learn to labour and to wait.” Version one goes that”永远要有所作为，不断追求，学会劳动，也学会等待和期望。”；version two goes that“不断去收获，不断去追求；永远在学着苦干和等候。”；version three goes that “独精我所行，逐我所适，且耕且守望，丰收之时”. In version one, the word “labour” is translated as “劳动”,which is not so appropriate exactly. Version two translated it as“苦干”，and this is better because it is corresponding to the theme of this poetry——keeping acting in the living present. Version three, however, translated it into”耕“，which has the cultural meaning for readers. In China, “耕”means labour, and it is easy to understand.

===4. Conclusion===

Criticism and appreciation of poetry translation, just like poetry translation, it needs various principles to support it. Before you can make the poetry translation appreciation and criticism, it is necessary for you to know what is poetry and what are the principles of poetry translation. Various translators put forward different poetry writing and translating principles, which are also helpful for critics to appreciate the poetry translation.

The three versions of translation of ''A Psalm of Life'' successfully convey the meaning of the whole poetry to some extent, however, different versions have some differences in some detailed sentences because of the translator's different cultural backgrounds and translation strategies their respective translator chose. However, there is no doubt that the three are good translations, and they greatly help readers understand the original text better. In the process of appreciation and criticism, people can also learn how to translate poetry better, and this is a process of mutual promotion. Last but not least, the comparative analysis of different translations of poems is conducive for reader's understanding towards poems in front of the transcultural background. However, about criticism and appreciation of poetry translation, much more efforts are needed to explore more important methods of criticism and appreciation. There is still a long way to go.

===5. References===

M. A. R. Habib (2011). Literary Criticism from Plato to the Present [M]. Wiley-Blackwell A John Wiley & Sons, Inc, Publication.

Huang Gaoxin 黄杲炘（1986）. 英国抒情诗100首 100 British Lyrics [M]. 上海译文出版社. Shanghai Translation Press.

Lao She 老舍（1984）. 谈翻译 About Translation [A]. 翻译研究论文集 Collection of Essays on Translation Research [C]. 北京 Peking: 外语教学与研究社 Foreign Language Pedagogy and Research Press.

Li Ming 李明（2010）. 翻译批评与鉴赏 [M]. Transaction Criticism and Appreciation. 武汉 Wuhan: 武汉大学出版社 Wuhan University Press.

Liao Siping, Zhang Yu (2007). 用心和眼睛传递诠释灵魂的艺术——袁可嘉的外国诗歌翻译 [J]. Delivering and interpreting the art of soul with heart and eyes—Yuan Kejia's Translation of Foreign Poems[J]. 中国翻译 China Translation.

Ning Huiqin 宁会勤（2009）. 从《多佛海岸》浅析诗歌翻译 [J]. Analysis of Poetry Translation from ''Dover Strait'' [J]. 读与写杂志 Journal of Reading and Writing.

Yang Xiaorong 杨晓荣（2005）. 翻译批评导论 [M]. Introduction to Translation Criticism [M]. 北京 Peking: 中国对外出版翻译公司 China Foreign Publishing and Translation Corporation.

Xu Jun 许钧（2009）. 翻译概论 [M]. Introduction to Translation [M]. 北京 Peking: 外语教学与研究出版社 Foreign Language Pedagogy and Research Press.

Zhou Yi & Luo Ping (2005). 翻译与批评 [M]. Translation and Criticism [M]. 武汉 Wuhan: 湖北教育出版社 Hubei Education Press.

Guo Moruo 郭沫若（1979）. 讨论注释运动及其他 [M]. Discuss annotation campaigns and others [M]. 重庆 Chong Qing: 西南人民出版社 Southwest People's Press.

Dai Weidonf 戴炜栋（2018）. 新编简明英语语言学教程 [M]. A New Concise Course in Linguistics for Students of English [M]. 上海 Shanghai: 上海外语教育出版社 Shanghai Foreign Language Education Press.

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Zhu Suzhen: /* 2.3 What is poetry translation appreciation and criticism */

Quicklink back to the overview page [[Translation Theories Applied to Literary Translations|Overview Page of Translation Theories Applied to Literary Translations]]

Chapter [[Theor_App_Lit_EN_1]]

=1 Criticism and appreciation of poetry translation ——taking ''A Psalm of Life'' as an example=

诗歌翻译批评与鉴赏——以《人生礼赞》为例

朱素珍 Zhu Suzhen, 202120081561,Hunan Normal University, China

===Abstract===
It is not difficult to translate poetry, and large quantities of translators and writers have provided us uncountable excellent translations of poetry. Unlike poetry translation, the criticism and appreciation of poetry translation is far more complicated. Despite of the complexity of the criticism and appreciation of poetry translation, some of the translators and ctitics have devoted themselves to it, and some breakthroughs have been made. Translators like Guo Moruo, Wen Yiduo, Li Ming, etc put forward their unique and thought-provoking principles of criticism and appreciation of poetry translation. These principles play an important role in the appreciation of poetry translation. Because of the great changes with our life and society, people live in a transcultural environment which develops in high speed.Is the criticism and appreciation of poetry translation conducive to the readers' understanding of the poetry in front of the transcultural background? How can critisiam and appreciation of poetry influenced reader's understanding of poetry? These questions are the focus of this paper. The author of this paper would mainly discuss the criticism and appreciation of poetry translation based on the comparative analysis of different versions of translation of the same poetry——''A Psalm of Life'', written by Henry Wordsworth Long Fellow. After the comparative analysis of three versions, whether the cultural factor has been considered or not can be uncovered clearly. Furthermore, in the process of criticism and appreciation, readers can also learn how to translate the poetry properly. Besides, such a method of analysis is also conducive to readers' appreciation of poetry translation in front of the transcultural background, which is inspiring and instructive.

===摘要===
翻译诗歌并不难，一大批译者和作家为我们提供了无数优秀的诗歌译本。与诗歌翻译不同，诗歌翻译的批评和鉴赏要复杂得多。尽管诗歌翻译的批评和鉴赏很复杂，一些译者和批评家都投入其中，并取得了一些突破。郭沫若、闻一多、李明等译者提出了自己独特的、发人深省的诗歌翻译批评与鉴赏原则。这些原则在诗歌翻译的鉴赏中起着重要的作用。由于我们的生活和社会发生了巨大的变化，人们生活在一个高速发展的跨文化环境中。诗歌翻译的批评和欣赏是否有利于读者在跨文化背景下理解诗歌？对诗歌的批评和欣赏如何影响读者对于诗歌的理解？这些问题是本文的重点。本文作者主要通过对同一首诗的不同译本的比较分析来探讨诗歌翻译的批评与鉴赏——以亨利·沃兹沃思·朗费罗所著《生命礼赞》为例，通过对三个版本比较分析，可以一目了然地看到文化因素是否被考虑进去了。此外，读者在诗歌翻译批评与鉴赏的过程中，也能学会如何正确地翻译诗歌，这样的分析方法也有利于读者在跨文化背景下欣赏诗歌翻译，具有启发性。

===Key words===
poetry translation; appreciation and criticism; comparative analysis; transcultural background

===关键词===
诗歌翻译; 批评与鉴赏；比较分析; 跨文化背景

===1. Introduction===
Varieties of human emotions and feelings can be recorded and transmitted by the form of poetry, which is an essential part of human life. For China, poetry has played a special and crucial role since the ancient times, with Tang dynasty as its peak period of development. Due to the powerful emotional expressiveness of poetry, many poets have adopted this genre for literary creation, producing rich and colourful poetry culture. Piles of wonderful poems have appeared like mushrooms after the rain. Not only in China, universal and common for humankind, poetry was chosen by quantities of western poets including Percy Bysshe Shelley, Robert Burns, Emily Dickinson, etc.

According to Aristotle, literature should have the function of purifying people's minds (Catharsis), that is to say, to educate them. Poetry makes it possible for poets to imitate and express their feelings toward the world. When the readers are reading the poetry, they can feel the emotions of the poet, for example the happiness, the sadness, the love for the nature, etc. There are not only the positive poets, and there are also the nagative poets who expressed negative attitude towards the world. About such negative attitude, readers can criticize it. During the process of appreciation and criticism, their virtue can be promoted, so they can reach a higher level of morality. Opposed to Aristotle, in Plato’s opinion, poetry is the second removal from reality, and it is a great danger for the unity of philosophy. Moreover, the poets should be exiled, and there should be strict censorship for the publication of poetry. Different philosophers have different ideas about poetry. And different poets can create different kinds of poems with rich titles and versatile structures. (M. A. R. Habib, 2011:10-18)

Besides, people speaking in different language and living in exotic culture are capable to write the poetry that is special to them. Such special point is stemming from the difference of language and culture. People are not unfamiliar with Sapir Wolf’s Theory of Linguistic Relativity which put forward that language decides how people think. It is such a strong and even a little decisive theory. However, it at least uncovers the relationship between language and culture. It is understandable that language is to some extent reflects how people are thinking， and the thinking can further show the influence of culture in the process of communication. For example, in China, people would say” Have you eaten?” when they meet each other occasionally. But the Chinese are not intentionally asking whether the hearer has eaten or not, and they are only expressing a kind of greeting. (Dai Weidong, 2018:128)

Therefore, when the foreigners hearing such a sentence, they would get confused. This is a typical example showing the culture’s important role in communication. Except for the spoken communication, culture would also influence the translation of literary works, such as poetry, novel and play, etc. In the translation of poetry, a professional translator has to put the factor of culture into consideration well in order to achieve a high-quality translation effect. Actually, poetry cross-culture translation is always an inevitable issue for translation, especially today we are in a high-speed developing cross-culture Time, naturally how to appreciate the translation of poetry is of great importance. (Dai Weidong, 2018:130)

===2.The principles of poetry translation appreciation and criticism===

====2.1 What is poetry====

First, it is necessary for us to know what is poetry. Poetry is a kind of literary style that summarizes and reflects the social life. Chinese famous writer Cao Wenxuan once said before that different from the novel, poetry expresses people’s feeling, while novelists write novels that reflect people’s experience. Poetry is the synthesis of experience rather than the experience itself. However, novel presents experience itself and leaves the feelings of experience to reader. In other words, readers need to obtain the feelings of experience by themselves after reading the novel thoroughly. But the poetry conveys the feelings directly, and readers can enjoy the wonderful feelings while reading. Here is an interesting comment about the relationship between poetry and novel: novel describes an awesome house, but poetry presents only the feelings and interjective toward the house. (Li Ming, 2010: 134)

Besides Cao Wenxuan, American poet Frost also has his own unique definition of poetry: Poetry is what has lost in translation. From the perspective of translation, this sentence amply points out the awkwardness and helplessness. Second, it is important to know what is poetry translation appreciation and criticism. Before that, poetry translation should be firstly taken into consideration. Poetry is a synthesis of ideational feelings, situational image, rhymical tempo and internal expression style. Translation poetry should consider these aspects. Translators should strive to transmit the rhymical sound and the spiritual aspects of poetry when they are making the translation readable and easy to be understood. (Ning Huiqin，2009：34) (Li Ming, 2010: 203)

Moreover, the translation of poetry needs the poetic talents of translator. Just as what the famous writer Lao She said:” Translators who have poetic talents should try to translate poetry in the form of poetry, and they also need to make readers not only know the contents of the book but also the way in which how such contents were conveyed." Such comments just explain that besides the expression of meaning, making the original poetry’s style characteristics reoccurring is extremely significant.(Lao She, 1984: 131)

====2.2 Principles of poetry translation====

Now it is time to consider the principles of poetry translation. There is a saying that translation is difficult, especially the translation of literary works among which the poetry translation is far more difficult. This can be seen from the characteristic of poetry which resembles the peak of translation art, and the poetry translation needs to consider the beauty of meaning, sound and words. Therefore, the translation of poetry is a kind of sophisticated and integrate art. When it comes to the issue how to translate poetry, translators have their own unique opinions and perspectives. For example, Guo Moruo put forward the principle of “translating poetry with poetry”; Wen Yiduo supported the principle of “using the pen of poetry to translate poetry”.(Guo Moruo,1979:144)

Moreover, some other translators put forward that poetry translation has two principles. Principle one is that poetry translation should pay attention to avoid the commonization of language. That is to say if translators translate poetry with plain and common even inflexible words and expressions and ignore the unique characteristics of poetic language and the individual poet’s language characteristics, which would not only fail to keep the original poetry’s expressional style but also fail to convey the spiritual soul of the original poetry (Liao Siping, Zhang Yu, 2007: 53). The other principle prescribes that the poetry translation should avoid the nationalization of poetry form. For example, it would make the poetry translation neither fish nor fowl even vulgarization if we translate the foreign poetry into our Chinese neat and uniform poetry forms like a poem with five characters in a line or with seven characters in a line or even the folk song style compulsively (Liao Siping, Zhang Yu, 2007: 53-54)

Last but not least, poetry translation is a process of recreation. What does it mean? That is to say when translators are translating poetry, they not only need to maintain the original condition in which the poetry is written but also be able to be flexible appropriately. As for this point, Song Yinghao professor in Tai Wan, China once said that in the process of translation the translators need to be invisible. And he also supported the principles of “translating poetry with poetry”. Actually, after having a thorough understanding of what is poetry translation and some of the principles of poetry translation, it is not so difficult for us to understand that poetry is an organic synthesis. Poetry itself is a life body. Therefore, the translation of poetry also needs to be a “life body”, and translators have to make the vivid situations that occur in the original poetry reoccurring in the translation versions poetry.（Liao Siping, Zhang Yu, 2007: 53）

Now it is time to consider the principles of poetry translation. There is a saying that translation is difficult, especially the translation of literary works among which the poetry translation is far more difficult. This can be seen from the characteristic of poetry which resembles the peak of translation art, and the poetry translation needs to consider the beauty of meaning, sound and words. Therefore, the translation of poetry is a kind of sophisticated and integrate art. When it comes to the issue how to translate poetry, translators have their own unique opinions and perspectives. For example, Guo Moruo put forward the principle of “translating poetry with poetry”; Wen Yiduo supported the principle of “using the pen of poetry to translate poetry”.

Moreover, some other translators put forward that poetry translation has two principles. Principle one is that poetry translation should pay attention to avoid the commonization of language. That is to say if translators translate poetry with plain and common even inflexible words and expressions and ignore the unique characteristics of poetic language and the individual poet’s language characteristics, which would not only fail to keep the original poetry’s expressional style but also fail to convey the spiritual soul of the original poetry (Liao Siping, Zhang Yu, 2007: 53). The other principle prescribes that the poetry translation should avoid the nationalization of poetry form. For example, it would make the poetry translation neither fish nor fowl even vulgarization if we translate the foreign poetry into our Chinese neat and uniform poetry forms like a poem with five characters in a line or with seven characters in a line or even the folk song style compulsively (Liao Siping, Zhang Yu, 2007: 53-54)

====2.3 What is criticism and appreciation of poetry translation====

Later, there is no doubt that we need principles to prescribe our behavior of poetry translation criticism and appreciation . Some influential translators have put forward lots of meaningful poetry translation principles. Actually, the principles of poetry translation are one of the most important criteria of criticism and appreciation of poetry translation. Under the guidance of such principles the translators have the possibility to smooth the process of translation without losing the original amaze of the poetry. At the same time, these important principles can also be used to check if the translators have obeyed them or not. Thus, one of the ways in which the critics do the literary criticism occurs. By the way, translators' subjectivity can not be ignored at the same time. Because translation can be seen as a recreation process, thus the translators can make their subjectivity work in this process. Through the integrate consideration of the original poetry creation condition and the readers’ cultural background, translators are able to translate the poetry wonderfully thus making the purpose of transmitting culture and literature realized.(Xu Jun, 2009: 156)

====2.4 Principles of poetry translation appreciation and criticism====

Later, there is no doubt that we need principles to prescribe our behavior of poetry translation appreciation and criticism. Some influential translators have put forward lots of meaningful poetry translation principles. Actually, the principles of poetry translation are one of the most important criteria of poetry translation appreciation and criticism. Under the guidance of such principles the translators have the possibility to smooth the process of translation without losing the original amaze of the poetry. At the same time, these important principles can also be used to check if the translators have obeyed them or not. Thus, one of the ways in which the critics do the literary criticism occurs. By the way, translator’s subjectivity can not be ignored at the same time. Because translation can be seen as a recreation process, thus the translators can make their subjectivity work in this process. Through the integrate consideration of the original poetry creation condition and the readers’ cultural background, translators are able to translate the poetry wonderfully thus making the purpose of transmitting culture and literature realized. (Zhou Yi & Luo Ping, 2005: 167)

===3. Comparative analysis of different version of translation of poetry===

In this part, it is necessary to make some comparative analysis between different versions of translation so as to do the poetry translation appreciation and criticism. As we all known, translation is also a process in which the translators try to recreate and translate. Translators are the creators at the same time. Because of their different culture background, educational background, their translation experience and some other factors, different translators can create different versions of poetry. Therefore, in this process we can experience how the translators construct and create the translation based on their embodied experience and professional quality.

It is not uncommon that the same poetry may have different versions of translation. And the appreciation of translation is to analyze how the translators translate it and why they would try to translate in such a way. At the same time, translation appreciation is not just a process to appreciate it, it is also a process to learn. Translation can be seen as a bridge that relates the reader and the writer in different language background. Without translation, it is impossible to transmit the beauty and amaze of literary works to more people, not less achieving a grandeur and multi-cultural literature feast. The translators are like the builder of the bridge, and their subjective factors including attitude, spirit as well as objective factors involving building method, the natural factors and so on are a unified system that would influence how the builders construct the bridge. It is believed that there are no best versions of translation, but better one. Therefore, the unlimited nature of translation makes it possible for us to make a comparison between kinds of versions, because there is no best translation but better one.

English poetry is like an endless sea in which different kind of poets devote themselves to the poetry creation. Because of the limited writing space, I will choose one of the famous and significant English poetries and its corresponding translation versions of Chinese. Then it is necessary to analyze the different aspects of the different translation versions of the same poetry. It is a common place that the same poetry can be translated into various versions. At this time, which version is better and the reasons need to be explained.
For example, a woman went to a shop to buy clothes. And she had tried so many dresses, shirts and blouses, etc. Then she needs criteria to help her decide which one she would like to buy. The criteria can be set by different people in various ways. But the woman is unique and she cannot be replaced by others, how about the clothes? Different clothes designers have different design rules and principles, and then we have such a colorful and multi-modal clothing world. Just like this, poetry translators are the clothing designers, and the different kinds of clothes resemble the various versions of translations. Like the cloth designers, the poetry translators have the right to recreate, but only on the basis of remaining the original colors and styles of the source poetry. Or it will make the poetry translations neither fish nor fowl. ( Li Ming, 2010: 204)

Let’s look at some examples of the poetry translation versions and try to make a comparative analysis between them. “A psalm of life” is the work of the excellent American Romanticism poet Henry Wordsworth Long Fellow. In 1839, Long Fellow published his first series of poems “Voice of the Night” in which the famous A Psalm of Life, A Psalm of Night were included. Long Fellow’s poems are elegant, plain and clear. His poems have greatly influenced American literature, and his poems were translated into more than twenty kinds of versions in different languages. In 'A Psalm of Life', Long Fellow praises life positively, which reflects the American people’s sound in the heart, and at that time, American capitalism has entered a period of vigorous development. According to Qian Zhongshu’s research, the Chinese version of ''A Psalm of Life'' is the first western poem being translated into Chinese. It was the Dong Xun, the Ministry of Revenue in Xian Feng period of the Qing dynasty, that first translated ''A Psalm of Life'' in the form of seven words in a line. However, the translation at that time was not so good, so it even aroused the old intellectuals’ contempt for western literature. Later, thanks to the appearance of new versions of translation of ''A Psalm of Life'', it widely circulated in China (Li Ming, 2010: 206-207).

Now let us try to analyze the different translation versions of ''A Psalm of Life''. First, let’s look at the original contents of this poem.

''A Psalm of Life''

Henry Wordsworth Long Fellow

Tell me not in mournful numbers,

Life is but an empty dream!

For the soul is dead that slumbers,

And things are not what they seem.

Life is real! Life is earnest!

And the grave is not its goal;

Dust thou art, to dust returnest,

Was not spoken of the soul.

Not enjoyment, and not sorrow,

Is our destined end or way;

But to act, that each tomorrow

Finds us farther than today.

Art is long, and time is fleeting,

And our hearts, though stout and brave,

Still, like muffled drums, are beating

Funeral marches to the grave.

In the world’s broad field of battle,

In the bivouac of life,

Be not like dumb, driven cattle!

Be a hero in the strife!

Trust no Future, howe’er pleasant!

Let the dead Past bury its dead!

Act—act in the living Present!

Heart within, and God’s o’erhead!

Lives of great men all remind us

We can make our lives sublime,

And, departing, leave behind us

Footprints on the sands of time;

Footprints that perhaps another,

Sailing o’er life’s solemn main,

A forlorn and shipwrecked brother,

Seeing, shall take heart again.

Let us, then, be up and doing,

With a heart for any fate;

Still achieving, still pursuing,

Learn to labour and to wait.

This poem is short but powerful with ample contents and lucid structure, showing readers strong emotional shock. The whole poem consists of nine stanzas, and each stanza has four verse lines, therefore, thirty-six lines in all. It can be divided into four parts to discuss the life in the eye of Long Fellow. The first two stanzas mainly correct the wrong and depraved argument that “life is but an empty dream”, and tell readers that “Life is real! Life is earnest!”

From the third stanza to the sixth stanza, Long Fellow discussed the issue that how to live life and suggest people act in the living present, which is the theme of this poetry. The seventh and the eighth stanza highlights the virtue and meaning of life. At the same time, the example of great people is used to encourage readers. Only the people who act in the living present can be remembered thus leaving footprints on the sands of time. This corresponds to what has been discussed in the second paragraph: Only the body will disappear, but not the soul of people. A person’s soul would be immortal because of the glory of life.

The last stanza are the summary and sublimation of the whole poetry. Long Fellow appeals to readers that they should act in the living present and be brave to confront the challenges in life. Finally, the poet summarizes the poetry with a thought-provoking sentence: “Still achieving, still pursuing.”, which corresponds to the subject of the poetry——acting in the living present. The poetry is full of the optimistic spirit and ample passion, and the poetry expresses the poet’s enthusiasm and pursuit of life as well as the positive and hardworking life attitude, criticizing the decadent attitude of life is but an empty dream.
Now let us see the Chinese versions of translations of A Psalm of Life. ( the author of this paper's analysis of ''A Psalm of Life'')

译文一：

'''生命的礼赞'''

别用悲伤的语调对我呻吟，

“人生不过是梦幻一场”！

因为沉睡中的灵魂已经死去，

万物并非它们显示的模样。

生命是真实的！生活是严肃的！

它们的终点决不是坟场；

“你来自尘土，必归于尘土”；

但这是指肉体，灵魂并未死亡。

我们注定的结局和道路，

既不是享乐，也不是悲伤；

而是行动，为了每一个明天，

使我们比今天走得更远更长。

艺术长久，韶光飞逝，

我们的心尽管英勇而坚强，

却仍像阵阵低沉的鼓声，

正朝着坟墓把哀乐敲响。

在世界辽阔的战场上，

在生命的露宿的营地上，

别作默默无声、任人驱使的牛羊，

要在战斗中当一名闯将！

莫信托未来，不管它怎样欢畅！

让逝去的岁月将死者埋葬！

行动吧，就在活着的此刻行动！

胸内有红心，头顶有上苍！

伟大的人物的生平把我们提醒，

我们能使我们的一生变得高尚，

在离开人间时，也能让足印

遗留在我们身后的时间的沙滩上。

呵，足印！也许另一位弟兄，

当他航行在生命庄严的海洋上，

不幸遇难，看见了这些足印，

他就会使勇气重新增长。

那么让我们振奋起来行动吧，

我们准备迎接任何命运的风浪；

永远要有所作为，不断追求，

学会劳动，也学会等待和期望。

（黄新渠译）

译文二

'''生之颂'''

别用悲切的诗句对我唱：

“人生只是虚幻的梦一场！”

因为昏睡的灵魂已死亡，

而事物不是看来那模样。

人生多真切！它绝非虚度！

一抔黄土哪里会是它的归宿；

“你来自泥尘，得重归泥尘，”

这句话所指的并不是灵魂。

我们命定的终点和道路

既不是享乐，也不是悲苦；

行动吧；要让每一个明天

发现我们比今天走得远。

学艺费光阴，时日去匆忙，

任我们的心勇敢又坚强，

依然像一些蒙住的鼓——

敲打着哀乐走向那坟墓。

在风云世界的广阔战场，

在人生征途的野宿营帐，

别像默默的牛羊任驱赶！

要争做英雄，能征惯战！

将来再美好也别空指望！

让死的过去把死的埋葬！

干！在活生生的现在就干！

胸中是赤心，上帝在云端！

伟人的生平向我们指出：

我们能使此生超群脱俗——

一朝逝去，时间的沙滩上

将留下我们的脚印行行。

在庄严的生活之海航行，

也许有兄弟会遭到不幸，

会因为航船沉没而绝望——

但见那脚印，又变得顽强。

让我们挺起身，行动起来，

凭对付任何的胸怀，

不断去收获，不断去追求；

永远在学着苦干和等候。

（黄杲忻译）

译文三

'''生之颂'''

莫向我吟唱，哀戚之词

叹生如梦境，虚无所炽

灵魂之沉睡，恍若长辞

而世间万物，伪装如缁

因孤坟荒土，非我命旨

因生之馥郁，真切如是

既生于尘滞，复归尘滞

而九天魂灵，长存如诗

决不为欢声，抑或悲思

我生之所往，道长如斯

集快马长剑，日日疾驰

待明日细数，功成如此

任艺业无涯，光阴飞逝

彼壮士之心，英勇无疵

奈战鼓哀亡，冢林墓石

怜其怨其殇，命魂所指

观我生所在，浮华乱世

观风云乾坤，辽阔如帜

斯牛羊傀儡，安得其实

唯浴血烽火，终成其事

纵欢娱无尽，未来未至

任亡者葬弃，过往已失

上苍行其道，我执其旨

即可启征铎，不枉今日

伟人之不朽，可为典示

倾我之所能，亦足至此

反肉身凡胎，终有一死

然我将留痕，流光之坻

望生命之海，风急浪蚀

念天行无常，苦难游子

而前人足迹，必将明示

纵满盘皆输，壮志不失

集生之全力，勿候勿止

有备则无惧，命运之矢

独精我所行，逐我所适

且耕且守望，丰收之时

（张瑶译）

First of all, in terms of the title, the first translation is a tribute to life, and the second translation uses the song of life. The topic of the second translation is concise and clear, and the writing style is more ancient. The translation is relatively easy to understand in terms of overall translation, and the language is relatively plain and life-oriented. The first sentence "Tell me not in mournful numbers", the three translations have their own emphasis, the first translation is "Don't whisper to me in a sad tone", the "tell" is translated as "低吟"; the second translation is "Tell" is translated as "唱"; the third translation is translated as "吟唱".

For "Life is but an empty dream", translators of the first and second translations both translated it as "Life is just an illusory dream", which basically achieves the effect of "expressing meaning", while the third translation is translated as "sorrowful words", the author believes that it is biased, because it does not convey the charm of "life is like a dream" in the original text, and it misses the meaning of dreams. In addition, the full text of the third translation is neatly aligned, and the rhythm is the same as the original. The first line and the third line are rhythmical, and the second and fourth lines are also rhythmical. This reproduces the style of the original text. In this aspect, translation one and translation two do not do so well. Translation two rhymes with the first and second lines; the third and the fourth lines rhyme also; version one hardly rhymes.

In the second stanza, the translation of "Life is real, life is earnest!" translates two "life" into "生命" and "生活" respectively. They are neatly opposed, but they may misinterpret the meaning of the original poem. Life is here. What exactly is meant needs to be carefully considered. In the second translation, "life" is translated as “人生", and "life is earnest!" is translated as "it is not in vain". This is a conversion of positive and negative translation, which surprises readers.
For “Dust thou art, to dust returnest, Was not spoken of the soul”, version one translated it as “你来自尘土，必将归于尘土，但这指的是肉体，灵魂并未死亡”，version one added the meaning of “it refers to the body”, making this sentence easier to be understood. Version three translated it as “既生于尘滞，复归尘滞，而九天魂灵，长存如诗“.In this translation, the translators thinks that human’s soul would not disappear, and it would last forever like poetry. However, we know that in Long Fellow’s opinion, human’s soul would remain immortal because of the glory of their life, but not because of the poetry. Therefore, here translation version three failed to convey the original meaning of the sentence. About the third paragraph, “But to act, that each tomorrow finds us father than today”, about this sentence, version two successfully maintain the original rhetorical device——personalization here, and translated it into” 要让每一个明天发现我们比今天走得远“.Version three writes that”集快马长剑，日日疾驰，待明日细数，功成如此“，which is too far away from the original text, and it cannot reoccur the amaze of the source poetry.

In the fourth stanza, “Art is long, and time is fleeting, And our hearts ……are beating Funeral marches to the grave.” Version one translated it as” 艺术长久，时光飞逝，我们的心尽管英勇而坚强“，version two translated it as “学艺费光阴，时日去匆忙，任我们的心勇敢又坚强”； translator in version three translated it as “任艺业无涯，光阴飞逝，彼壮士之心，英勇无疵”.From the sentence structure we can find that, the former two versions convey the original meaning better because we know that in this paragraph, here exists a comparison between the facts that our heart is brave and the facts that our heart is like a muffled drum which is beating funeral marches to the grave. Therefore, here should be words in the former part, here the words are “尽管“”任“. However, in the version three, the word”任” is used to decorate the ”art is long and time is fleeting.”, such transference actually has misinterpreted the meaning of the original text.

In the fifth stanza, “Be not like dumb, driven cattle! Be a hero in the strife!”, this sentence is translated into three different versions. Version one:”别作默默无声、任人驱使的牛羊，要在战斗中当一名闯将！”；Version two: “别作默默的牛羊任驱赶！要争取做英雄，能征惯战！”；Version three：“斯牛羊傀儡，安得其实，唯浴血烽火，终成其事”. Comparatively, version one is more flexible, because there is no limit in the number of the words in a line. But in version two, each line must have ten words, and in version three, each line has 8 words, which is set stable. Besides, version two and three separately added the external meaning of “能征惯战““终成其事”，but in the original text it is “Be a hero in the strife”, therefore, the two versions make some external decorations to the sentence.

In the sixth stanza, “Act—act in the living Present! Heart within, and God’s o’erhead!” version one goes that:”行动吧，就在活着的此刻行动！胸内有红心，头顶有上苍！”；version two goes that”干！在活生生的现在就干！胸中是赤心，上帝在云端！”；Translator in version three goes that”上苍行其道，我执其旨，即刻起征铎，不枉今日“；In the three versions, the former two versions are easier to understand, while the third one is more abstract because it transfers the role and function of “God”. Originally, God only is overhead, however, in version three, its function has changed, and also here the “act” is translated into”我行其旨”， which means that human’s action is actually obeying the hints of the God. This translation can better help readers understand why the poet put “God is overhead” here, which reflects the culture and religion of the western country, but in version one and two, such relationship is not so clear. All in all, the three versions have their own advantages and disadvantages, which are decided by the translators’ choice of expressions and their understanding of the poetry.

In the seventh stanza, “Lives of great men ……on the sands of time”, as for this sentence’s translation, version one goes that”伟大的人物的生平..我们也能使我们的一生变得高尚，在离开人间时，也能让足印……身后的时间的沙滩上” ；version two goes that“伟人的生平向我们指出：我们能使此生超群脱俗——一朝逝去，时间的沙滩上将留下脚印行行”；version three goes that“伟人之不朽，可为典示，倾我之所能，亦足至此，反肉身凡胎，终有一死，然我将留痕，流光之坻”；Similarly，the former two versions are more readable and easy to understand. However, the third version is far more beautiful and elegant, according to the principle that poetry translation is different from the daily conversation, and the expressions need to be elegant and beautiful. By enjoying the third translation, readers can fully and satisfactorily obtain the beauty and poet’s philosophic theory included in the poetry.

In the eighth stanza, “Footprints that perhaps another… Seeing, shall take heart again.”
Version one goes that“呵，足印！也许另一位弟兄，当他航行在生命庄严的海洋上，不幸遇难，看见了这些足印，他就会使勇气增长”；version two goes that“ 在庄严的生活之海航行，也许有兄弟会遭遇不幸，会因为航船沉没而绝望——但见那脚印，又变得顽强”； version three goes that “ 望生命之海，风急浪蚀，念天行无常，苦难游子，而前人足迹，必将明示，纵满盘皆输，壮志不失” These three translation versions have different effects upon readers. Version one did not translate the “shipwrecked” directly as “航船沉没“， but rather translated it as “不幸遇难”，which is actually more concise than version two”遭遇不幸，会因为航船沉没而绝望“. The three versions successfully achieve the effect of metaphor and translated it into”生命之海”,which can make the meaning of the original text more clear and vivid. Besides, the version three adds some special Chinese expressions such as “满盘皆输”“壮志不失”“苦难游子”“天行无常”， which are easy to understand for Chinese readers, however, it is not so easy for the other language speaking readers, so it is better to add some annotation in order to smooth the understanding.

In the ninth stanza, the poet summarize and sublime the theme of the poetry with “Still achieving, still pursuing, learn to labour and to wait.” Version one goes that”永远要有所作为，不断追求，学会劳动，也学会等待和期望。”；version two goes that“不断去收获，不断去追求；永远在学着苦干和等候。”；version three goes that “独精我所行，逐我所适，且耕且守望，丰收之时”. In version one, the word “labour” is translated as “劳动”,which is not so appropriate exactly. Version two translated it as“苦干”，and this is better because it is corresponding to the theme of this poetry——keeping acting in the living present. Version three, however, translated it into”耕“，which has the cultural meaning for readers. In China, “耕”means labour, and it is easy to understand.

===4. Conclusion===

Criticism and appreciation of poetry translation, just like poetry translation, it needs various principles to support it. Before you can make the poetry translation appreciation and criticism, it is necessary for you to know what is poetry and what are the principles of poetry translation. Various translators put forward different poetry writing and translating principles, which are also helpful for critics to appreciate the poetry translation.

The three versions of translation of ''A Psalm of Life'' successfully convey the meaning of the whole poetry to some extent, however, different versions have some differences in some detailed sentences because of the translator's different cultural backgrounds and translation strategies their respective translator chose. However, there is no doubt that the three are good translations, and they greatly help readers understand the original text better. In the process of appreciation and criticism, people can also learn how to translate poetry better, and this is a process of mutual promotion. Last but not least, the comparative analysis of different translations of poems is conducive for reader's understanding towards poems in front of the transcultural background. However, about criticism and appreciation of poetry translation, much more efforts are needed to explore more important methods of criticism and appreciation. There is still a long way to go.

===5. References===

M. A. R. Habib (2011). Literary Criticism from Plato to the Present [M]. Wiley-Blackwell A John Wiley & Sons, Inc, Publication.

Huang Gaoxin 黄杲炘（1986）. 英国抒情诗100首 100 British Lyrics [M]. 上海译文出版社. Shanghai Translation Press.

Lao She 老舍（1984）. 谈翻译 About Translation [A]. 翻译研究论文集 Collection of Essays on Translation Research [C]. 北京 Peking: 外语教学与研究社 Foreign Language Pedagogy and Research Press.

Li Ming 李明（2010）. 翻译批评与鉴赏 [M]. Transaction Criticism and Appreciation. 武汉 Wuhan: 武汉大学出版社 Wuhan University Press.

Liao Siping, Zhang Yu (2007). 用心和眼睛传递诠释灵魂的艺术——袁可嘉的外国诗歌翻译 [J]. Delivering and interpreting the art of soul with heart and eyes—Yuan Kejia's Translation of Foreign Poems[J]. 中国翻译 China Translation.

Ning Huiqin 宁会勤（2009）. 从《多佛海岸》浅析诗歌翻译 [J]. Analysis of Poetry Translation from ''Dover Strait'' [J]. 读与写杂志 Journal of Reading and Writing.

Yang Xiaorong 杨晓荣（2005）. 翻译批评导论 [M]. Introduction to Translation Criticism [M]. 北京 Peking: 中国对外出版翻译公司 China Foreign Publishing and Translation Corporation.

Xu Jun 许钧（2009）. 翻译概论 [M]. Introduction to Translation [M]. 北京 Peking: 外语教学与研究出版社 Foreign Language Pedagogy and Research Press.

Zhou Yi & Luo Ping (2005). 翻译与批评 [M]. Translation and Criticism [M]. 武汉 Wuhan: 湖北教育出版社 Hubei Education Press.

Guo Moruo 郭沫若（1979）. 讨论注释运动及其他 [M]. Discuss annotation campaigns and others [M]. 重庆 Chong Qing: 西南人民出版社 Southwest People's Press.

Dai Weidonf 戴炜栋（2018）. 新编简明英语语言学教程 [M]. A New Concise Course in Linguistics for Students of English [M]. 上海 Shanghai: 上海外语教育出版社 Shanghai Foreign Language Education Press.

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Zhu Suzhen: /* 2.3 What is poetry translation appreciation and criticism */

Quicklink back to the overview page [[Translation Theories Applied to Literary Translations|Overview Page of Translation Theories Applied to Literary Translations]]

Chapter [[Theor_App_Lit_EN_1]]

=1 Criticism and appreciation of poetry translation ——taking ''A Psalm of Life'' as an example=

诗歌翻译批评与鉴赏——以《人生礼赞》为例

朱素珍 Zhu Suzhen, 202120081561,Hunan Normal University, China

===Abstract===
It is not difficult to translate poetry, and large quantities of translators and writers have provided us uncountable excellent translations of poetry. Unlike poetry translation, the criticism and appreciation of poetry translation is far more complicated. Despite of the complexity of the criticism and appreciation of poetry translation, some of the translators and ctitics have devoted themselves to it, and some breakthroughs have been made. Translators like Guo Moruo, Wen Yiduo, Li Ming, etc put forward their unique and thought-provoking principles of criticism and appreciation of poetry translation. These principles play an important role in the appreciation of poetry translation. Because of the great changes with our life and society, people live in a transcultural environment which develops in high speed.Is the criticism and appreciation of poetry translation conducive to the readers' understanding of the poetry in front of the transcultural background? How can critisiam and appreciation of poetry influenced reader's understanding of poetry? These questions are the focus of this paper. The author of this paper would mainly discuss the criticism and appreciation of poetry translation based on the comparative analysis of different versions of translation of the same poetry——''A Psalm of Life'', written by Henry Wordsworth Long Fellow. After the comparative analysis of three versions, whether the cultural factor has been considered or not can be uncovered clearly. Furthermore, in the process of criticism and appreciation, readers can also learn how to translate the poetry properly. Besides, such a method of analysis is also conducive to readers' appreciation of poetry translation in front of the transcultural background, which is inspiring and instructive.

===摘要===
翻译诗歌并不难，一大批译者和作家为我们提供了无数优秀的诗歌译本。与诗歌翻译不同，诗歌翻译的批评和鉴赏要复杂得多。尽管诗歌翻译的批评和鉴赏很复杂，一些译者和批评家都投入其中，并取得了一些突破。郭沫若、闻一多、李明等译者提出了自己独特的、发人深省的诗歌翻译批评与鉴赏原则。这些原则在诗歌翻译的鉴赏中起着重要的作用。由于我们的生活和社会发生了巨大的变化，人们生活在一个高速发展的跨文化环境中。诗歌翻译的批评和欣赏是否有利于读者在跨文化背景下理解诗歌？对诗歌的批评和欣赏如何影响读者对于诗歌的理解？这些问题是本文的重点。本文作者主要通过对同一首诗的不同译本的比较分析来探讨诗歌翻译的批评与鉴赏——以亨利·沃兹沃思·朗费罗所著《生命礼赞》为例，通过对三个版本比较分析，可以一目了然地看到文化因素是否被考虑进去了。此外，读者在诗歌翻译批评与鉴赏的过程中，也能学会如何正确地翻译诗歌，这样的分析方法也有利于读者在跨文化背景下欣赏诗歌翻译，具有启发性。

===Key words===
poetry translation; appreciation and criticism; comparative analysis; transcultural background

===关键词===
诗歌翻译; 批评与鉴赏；比较分析; 跨文化背景

===1. Introduction===
Varieties of human emotions and feelings can be recorded and transmitted by the form of poetry, which is an essential part of human life. For China, poetry has played a special and crucial role since the ancient times, with Tang dynasty as its peak period of development. Due to the powerful emotional expressiveness of poetry, many poets have adopted this genre for literary creation, producing rich and colourful poetry culture. Piles of wonderful poems have appeared like mushrooms after the rain. Not only in China, universal and common for humankind, poetry was chosen by quantities of western poets including Percy Bysshe Shelley, Robert Burns, Emily Dickinson, etc.

According to Aristotle, literature should have the function of purifying people's minds (Catharsis), that is to say, to educate them. Poetry makes it possible for poets to imitate and express their feelings toward the world. When the readers are reading the poetry, they can feel the emotions of the poet, for example the happiness, the sadness, the love for the nature, etc. There are not only the positive poets, and there are also the nagative poets who expressed negative attitude towards the world. About such negative attitude, readers can criticize it. During the process of appreciation and criticism, their virtue can be promoted, so they can reach a higher level of morality. Opposed to Aristotle, in Plato’s opinion, poetry is the second removal from reality, and it is a great danger for the unity of philosophy. Moreover, the poets should be exiled, and there should be strict censorship for the publication of poetry. Different philosophers have different ideas about poetry. And different poets can create different kinds of poems with rich titles and versatile structures. (M. A. R. Habib, 2011:10-18)

Besides, people speaking in different language and living in exotic culture are capable to write the poetry that is special to them. Such special point is stemming from the difference of language and culture. People are not unfamiliar with Sapir Wolf’s Theory of Linguistic Relativity which put forward that language decides how people think. It is such a strong and even a little decisive theory. However, it at least uncovers the relationship between language and culture. It is understandable that language is to some extent reflects how people are thinking， and the thinking can further show the influence of culture in the process of communication. For example, in China, people would say” Have you eaten?” when they meet each other occasionally. But the Chinese are not intentionally asking whether the hearer has eaten or not, and they are only expressing a kind of greeting. (Dai Weidong, 2018:128)

Therefore, when the foreigners hearing such a sentence, they would get confused. This is a typical example showing the culture’s important role in communication. Except for the spoken communication, culture would also influence the translation of literary works, such as poetry, novel and play, etc. In the translation of poetry, a professional translator has to put the factor of culture into consideration well in order to achieve a high-quality translation effect. Actually, poetry cross-culture translation is always an inevitable issue for translation, especially today we are in a high-speed developing cross-culture Time, naturally how to appreciate the translation of poetry is of great importance. (Dai Weidong, 2018:130)

===2.The principles of poetry translation appreciation and criticism===

====2.1 What is poetry====

First, it is necessary for us to know what is poetry. Poetry is a kind of literary style that summarizes and reflects the social life. Chinese famous writer Cao Wenxuan once said before that different from the novel, poetry expresses people’s feeling, while novelists write novels that reflect people’s experience. Poetry is the synthesis of experience rather than the experience itself. However, novel presents experience itself and leaves the feelings of experience to reader. In other words, readers need to obtain the feelings of experience by themselves after reading the novel thoroughly. But the poetry conveys the feelings directly, and readers can enjoy the wonderful feelings while reading. Here is an interesting comment about the relationship between poetry and novel: novel describes an awesome house, but poetry presents only the feelings and interjective toward the house. (Li Ming, 2010: 134)

Besides Cao Wenxuan, American poet Frost also has his own unique definition of poetry: Poetry is what has lost in translation. From the perspective of translation, this sentence amply points out the awkwardness and helplessness. Second, it is important to know what is poetry translation appreciation and criticism. Before that, poetry translation should be firstly taken into consideration. Poetry is a synthesis of ideational feelings, situational image, rhymical tempo and internal expression style. Translation poetry should consider these aspects. Translators should strive to transmit the rhymical sound and the spiritual aspects of poetry when they are making the translation readable and easy to be understood. (Ning Huiqin，2009：34) (Li Ming, 2010: 203)

Moreover, the translation of poetry needs the poetic talents of translator. Just as what the famous writer Lao She said:” Translators who have poetic talents should try to translate poetry in the form of poetry, and they also need to make readers not only know the contents of the book but also the way in which how such contents were conveyed." Such comments just explain that besides the expression of meaning, making the original poetry’s style characteristics reoccurring is extremely significant.(Lao She, 1984: 131)

====2.2 Principles of poetry translation====

Now it is time to consider the principles of poetry translation. There is a saying that translation is difficult, especially the translation of literary works among which the poetry translation is far more difficult. This can be seen from the characteristic of poetry which resembles the peak of translation art, and the poetry translation needs to consider the beauty of meaning, sound and words. Therefore, the translation of poetry is a kind of sophisticated and integrate art. When it comes to the issue how to translate poetry, translators have their own unique opinions and perspectives. For example, Guo Moruo put forward the principle of “translating poetry with poetry”; Wen Yiduo supported the principle of “using the pen of poetry to translate poetry”.(Guo Moruo,1979:144)

Moreover, some other translators put forward that poetry translation has two principles. Principle one is that poetry translation should pay attention to avoid the commonization of language. That is to say if translators translate poetry with plain and common even inflexible words and expressions and ignore the unique characteristics of poetic language and the individual poet’s language characteristics, which would not only fail to keep the original poetry’s expressional style but also fail to convey the spiritual soul of the original poetry (Liao Siping, Zhang Yu, 2007: 53). The other principle prescribes that the poetry translation should avoid the nationalization of poetry form. For example, it would make the poetry translation neither fish nor fowl even vulgarization if we translate the foreign poetry into our Chinese neat and uniform poetry forms like a poem with five characters in a line or with seven characters in a line or even the folk song style compulsively (Liao Siping, Zhang Yu, 2007: 53-54)

Last but not least, poetry translation is a process of recreation. What does it mean? That is to say when translators are translating poetry, they not only need to maintain the original condition in which the poetry is written but also be able to be flexible appropriately. As for this point, Song Yinghao professor in Tai Wan, China once said that in the process of translation the translators need to be invisible. And he also supported the principles of “translating poetry with poetry”. Actually, after having a thorough understanding of what is poetry translation and some of the principles of poetry translation, it is not so difficult for us to understand that poetry is an organic synthesis. Poetry itself is a life body. Therefore, the translation of poetry also needs to be a “life body”, and translators have to make the vivid situations that occur in the original poetry reoccurring in the translation versions poetry.（Liao Siping, Zhang Yu, 2007: 53）

Now it is time to consider the principles of poetry translation. There is a saying that translation is difficult, especially the translation of literary works among which the poetry translation is far more difficult. This can be seen from the characteristic of poetry which resembles the peak of translation art, and the poetry translation needs to consider the beauty of meaning, sound and words. Therefore, the translation of poetry is a kind of sophisticated and integrate art. When it comes to the issue how to translate poetry, translators have their own unique opinions and perspectives. For example, Guo Moruo put forward the principle of “translating poetry with poetry”; Wen Yiduo supported the principle of “using the pen of poetry to translate poetry”.

Moreover, some other translators put forward that poetry translation has two principles. Principle one is that poetry translation should pay attention to avoid the commonization of language. That is to say if translators translate poetry with plain and common even inflexible words and expressions and ignore the unique characteristics of poetic language and the individual poet’s language characteristics, which would not only fail to keep the original poetry’s expressional style but also fail to convey the spiritual soul of the original poetry (Liao Siping, Zhang Yu, 2007: 53). The other principle prescribes that the poetry translation should avoid the nationalization of poetry form. For example, it would make the poetry translation neither fish nor fowl even vulgarization if we translate the foreign poetry into our Chinese neat and uniform poetry forms like a poem with five characters in a line or with seven characters in a line or even the folk song style compulsively (Liao Siping, Zhang Yu, 2007: 53-54)

====2.3 What is poetry translation appreciation and criticism====

Later, there is no doubt that we need principles to prescribe our behavior of poetry translation criticism and appreciation . Some influential translators have put forward lots of meaningful poetry translation principles. Actually, the principles of poetry translation are one of the most important criteria of criticism and appreciation of poetry translation. Under the guidance of such principles the translators have the possibility to smooth the process of translation without losing the original amaze of the poetry. At the same time, these important principles can also be used to check if the translators have obeyed them or not. Thus, one of the ways in which the critics do the literary criticism occurs. By the way, translators' subjectivity can not be ignored at the same time. Because translation can be seen as a recreation process, thus the translators can make their subjectivity work in this process. Through the integrate consideration of the original poetry creation condition and the readers’ cultural background, translators are able to translate the poetry wonderfully thus making the purpose of transmitting culture and literature realized.(Xu Jun, 2009: 156)

====2.4 Principles of poetry translation appreciation and criticism====

Later, there is no doubt that we need principles to prescribe our behavior of poetry translation appreciation and criticism. Some influential translators have put forward lots of meaningful poetry translation principles. Actually, the principles of poetry translation are one of the most important criteria of poetry translation appreciation and criticism. Under the guidance of such principles the translators have the possibility to smooth the process of translation without losing the original amaze of the poetry. At the same time, these important principles can also be used to check if the translators have obeyed them or not. Thus, one of the ways in which the critics do the literary criticism occurs. By the way, translator’s subjectivity can not be ignored at the same time. Because translation can be seen as a recreation process, thus the translators can make their subjectivity work in this process. Through the integrate consideration of the original poetry creation condition and the readers’ cultural background, translators are able to translate the poetry wonderfully thus making the purpose of transmitting culture and literature realized. (Zhou Yi & Luo Ping, 2005: 167)

===3. Comparative analysis of different version of translation of poetry===

In this part, it is necessary to make some comparative analysis between different versions of translation so as to do the poetry translation appreciation and criticism. As we all known, translation is also a process in which the translators try to recreate and translate. Translators are the creators at the same time. Because of their different culture background, educational background, their translation experience and some other factors, different translators can create different versions of poetry. Therefore, in this process we can experience how the translators construct and create the translation based on their embodied experience and professional quality.

It is not uncommon that the same poetry may have different versions of translation. And the appreciation of translation is to analyze how the translators translate it and why they would try to translate in such a way. At the same time, translation appreciation is not just a process to appreciate it, it is also a process to learn. Translation can be seen as a bridge that relates the reader and the writer in different language background. Without translation, it is impossible to transmit the beauty and amaze of literary works to more people, not less achieving a grandeur and multi-cultural literature feast. The translators are like the builder of the bridge, and their subjective factors including attitude, spirit as well as objective factors involving building method, the natural factors and so on are a unified system that would influence how the builders construct the bridge. It is believed that there are no best versions of translation, but better one. Therefore, the unlimited nature of translation makes it possible for us to make a comparison between kinds of versions, because there is no best translation but better one.

English poetry is like an endless sea in which different kind of poets devote themselves to the poetry creation. Because of the limited writing space, I will choose one of the famous and significant English poetries and its corresponding translation versions of Chinese. Then it is necessary to analyze the different aspects of the different translation versions of the same poetry. It is a common place that the same poetry can be translated into various versions. At this time, which version is better and the reasons need to be explained.
For example, a woman went to a shop to buy clothes. And she had tried so many dresses, shirts and blouses, etc. Then she needs criteria to help her decide which one she would like to buy. The criteria can be set by different people in various ways. But the woman is unique and she cannot be replaced by others, how about the clothes? Different clothes designers have different design rules and principles, and then we have such a colorful and multi-modal clothing world. Just like this, poetry translators are the clothing designers, and the different kinds of clothes resemble the various versions of translations. Like the cloth designers, the poetry translators have the right to recreate, but only on the basis of remaining the original colors and styles of the source poetry. Or it will make the poetry translations neither fish nor fowl. ( Li Ming, 2010: 204)

Let’s look at some examples of the poetry translation versions and try to make a comparative analysis between them. “A psalm of life” is the work of the excellent American Romanticism poet Henry Wordsworth Long Fellow. In 1839, Long Fellow published his first series of poems “Voice of the Night” in which the famous A Psalm of Life, A Psalm of Night were included. Long Fellow’s poems are elegant, plain and clear. His poems have greatly influenced American literature, and his poems were translated into more than twenty kinds of versions in different languages. In 'A Psalm of Life', Long Fellow praises life positively, which reflects the American people’s sound in the heart, and at that time, American capitalism has entered a period of vigorous development. According to Qian Zhongshu’s research, the Chinese version of ''A Psalm of Life'' is the first western poem being translated into Chinese. It was the Dong Xun, the Ministry of Revenue in Xian Feng period of the Qing dynasty, that first translated ''A Psalm of Life'' in the form of seven words in a line. However, the translation at that time was not so good, so it even aroused the old intellectuals’ contempt for western literature. Later, thanks to the appearance of new versions of translation of ''A Psalm of Life'', it widely circulated in China (Li Ming, 2010: 206-207).

Now let us try to analyze the different translation versions of ''A Psalm of Life''. First, let’s look at the original contents of this poem.

''A Psalm of Life''

Henry Wordsworth Long Fellow

Tell me not in mournful numbers,

Life is but an empty dream!

For the soul is dead that slumbers,

And things are not what they seem.

Life is real! Life is earnest!

And the grave is not its goal;

Dust thou art, to dust returnest,

Was not spoken of the soul.

Not enjoyment, and not sorrow,

Is our destined end or way;

But to act, that each tomorrow

Finds us farther than today.

Art is long, and time is fleeting,

And our hearts, though stout and brave,

Still, like muffled drums, are beating

Funeral marches to the grave.

In the world’s broad field of battle,

In the bivouac of life,

Be not like dumb, driven cattle!

Be a hero in the strife!

Trust no Future, howe’er pleasant!

Let the dead Past bury its dead!

Act—act in the living Present!

Heart within, and God’s o’erhead!

Lives of great men all remind us

We can make our lives sublime,

And, departing, leave behind us

Footprints on the sands of time;

Footprints that perhaps another,

Sailing o’er life’s solemn main,

A forlorn and shipwrecked brother,

Seeing, shall take heart again.

Let us, then, be up and doing,

With a heart for any fate;

Still achieving, still pursuing,

Learn to labour and to wait.

This poem is short but powerful with ample contents and lucid structure, showing readers strong emotional shock. The whole poem consists of nine stanzas, and each stanza has four verse lines, therefore, thirty-six lines in all. It can be divided into four parts to discuss the life in the eye of Long Fellow. The first two stanzas mainly correct the wrong and depraved argument that “life is but an empty dream”, and tell readers that “Life is real! Life is earnest!”

From the third stanza to the sixth stanza, Long Fellow discussed the issue that how to live life and suggest people act in the living present, which is the theme of this poetry. The seventh and the eighth stanza highlights the virtue and meaning of life. At the same time, the example of great people is used to encourage readers. Only the people who act in the living present can be remembered thus leaving footprints on the sands of time. This corresponds to what has been discussed in the second paragraph: Only the body will disappear, but not the soul of people. A person’s soul would be immortal because of the glory of life.

The last stanza are the summary and sublimation of the whole poetry. Long Fellow appeals to readers that they should act in the living present and be brave to confront the challenges in life. Finally, the poet summarizes the poetry with a thought-provoking sentence: “Still achieving, still pursuing.”, which corresponds to the subject of the poetry——acting in the living present. The poetry is full of the optimistic spirit and ample passion, and the poetry expresses the poet’s enthusiasm and pursuit of life as well as the positive and hardworking life attitude, criticizing the decadent attitude of life is but an empty dream.
Now let us see the Chinese versions of translations of A Psalm of Life. ( the author of this paper's analysis of ''A Psalm of Life'')

译文一：

'''生命的礼赞'''

别用悲伤的语调对我呻吟，

“人生不过是梦幻一场”！

因为沉睡中的灵魂已经死去，

万物并非它们显示的模样。

生命是真实的！生活是严肃的！

它们的终点决不是坟场；

“你来自尘土，必归于尘土”；

但这是指肉体，灵魂并未死亡。

我们注定的结局和道路，

既不是享乐，也不是悲伤；

而是行动，为了每一个明天，

使我们比今天走得更远更长。

艺术长久，韶光飞逝，

我们的心尽管英勇而坚强，

却仍像阵阵低沉的鼓声，

正朝着坟墓把哀乐敲响。

在世界辽阔的战场上，

在生命的露宿的营地上，

别作默默无声、任人驱使的牛羊，

要在战斗中当一名闯将！

莫信托未来，不管它怎样欢畅！

让逝去的岁月将死者埋葬！

行动吧，就在活着的此刻行动！

胸内有红心，头顶有上苍！

伟大的人物的生平把我们提醒，

我们能使我们的一生变得高尚，

在离开人间时，也能让足印

遗留在我们身后的时间的沙滩上。

呵，足印！也许另一位弟兄，

当他航行在生命庄严的海洋上，

不幸遇难，看见了这些足印，

他就会使勇气重新增长。

那么让我们振奋起来行动吧，

我们准备迎接任何命运的风浪；

永远要有所作为，不断追求，

学会劳动，也学会等待和期望。

（黄新渠译）

译文二

'''生之颂'''

别用悲切的诗句对我唱：

“人生只是虚幻的梦一场！”

因为昏睡的灵魂已死亡，

而事物不是看来那模样。

人生多真切！它绝非虚度！

一抔黄土哪里会是它的归宿；

“你来自泥尘，得重归泥尘，”

这句话所指的并不是灵魂。

我们命定的终点和道路

既不是享乐，也不是悲苦；

行动吧；要让每一个明天

发现我们比今天走得远。

学艺费光阴，时日去匆忙，

任我们的心勇敢又坚强，

依然像一些蒙住的鼓——

敲打着哀乐走向那坟墓。

在风云世界的广阔战场，

在人生征途的野宿营帐，

别像默默的牛羊任驱赶！

要争做英雄，能征惯战！

将来再美好也别空指望！

让死的过去把死的埋葬！

干！在活生生的现在就干！

胸中是赤心，上帝在云端！

伟人的生平向我们指出：

我们能使此生超群脱俗——

一朝逝去，时间的沙滩上

将留下我们的脚印行行。

在庄严的生活之海航行，

也许有兄弟会遭到不幸，

会因为航船沉没而绝望——

但见那脚印，又变得顽强。

让我们挺起身，行动起来，

凭对付任何的胸怀，

不断去收获，不断去追求；

永远在学着苦干和等候。

（黄杲忻译）

译文三

'''生之颂'''

莫向我吟唱，哀戚之词

叹生如梦境，虚无所炽

灵魂之沉睡，恍若长辞

而世间万物，伪装如缁

因孤坟荒土，非我命旨

因生之馥郁，真切如是

既生于尘滞，复归尘滞

而九天魂灵，长存如诗

决不为欢声，抑或悲思

我生之所往，道长如斯

集快马长剑，日日疾驰

待明日细数，功成如此

任艺业无涯，光阴飞逝

彼壮士之心，英勇无疵

奈战鼓哀亡，冢林墓石

怜其怨其殇，命魂所指

观我生所在，浮华乱世

观风云乾坤，辽阔如帜

斯牛羊傀儡，安得其实

唯浴血烽火，终成其事

纵欢娱无尽，未来未至

任亡者葬弃，过往已失

上苍行其道，我执其旨

即可启征铎，不枉今日

伟人之不朽，可为典示

倾我之所能，亦足至此

反肉身凡胎，终有一死

然我将留痕，流光之坻

望生命之海，风急浪蚀

念天行无常，苦难游子

而前人足迹，必将明示

纵满盘皆输，壮志不失

集生之全力，勿候勿止

有备则无惧，命运之矢

独精我所行，逐我所适

且耕且守望，丰收之时

（张瑶译）

First of all, in terms of the title, the first translation is a tribute to life, and the second translation uses the song of life. The topic of the second translation is concise and clear, and the writing style is more ancient. The translation is relatively easy to understand in terms of overall translation, and the language is relatively plain and life-oriented. The first sentence "Tell me not in mournful numbers", the three translations have their own emphasis, the first translation is "Don't whisper to me in a sad tone", the "tell" is translated as "低吟"; the second translation is "Tell" is translated as "唱"; the third translation is translated as "吟唱".

For "Life is but an empty dream", translators of the first and second translations both translated it as "Life is just an illusory dream", which basically achieves the effect of "expressing meaning", while the third translation is translated as "sorrowful words", the author believes that it is biased, because it does not convey the charm of "life is like a dream" in the original text, and it misses the meaning of dreams. In addition, the full text of the third translation is neatly aligned, and the rhythm is the same as the original. The first line and the third line are rhythmical, and the second and fourth lines are also rhythmical. This reproduces the style of the original text. In this aspect, translation one and translation two do not do so well. Translation two rhymes with the first and second lines; the third and the fourth lines rhyme also; version one hardly rhymes.

In the second stanza, the translation of "Life is real, life is earnest!" translates two "life" into "生命" and "生活" respectively. They are neatly opposed, but they may misinterpret the meaning of the original poem. Life is here. What exactly is meant needs to be carefully considered. In the second translation, "life" is translated as “人生", and "life is earnest!" is translated as "it is not in vain". This is a conversion of positive and negative translation, which surprises readers.
For “Dust thou art, to dust returnest, Was not spoken of the soul”, version one translated it as “你来自尘土，必将归于尘土，但这指的是肉体，灵魂并未死亡”，version one added the meaning of “it refers to the body”, making this sentence easier to be understood. Version three translated it as “既生于尘滞，复归尘滞，而九天魂灵，长存如诗“.In this translation, the translators thinks that human’s soul would not disappear, and it would last forever like poetry. However, we know that in Long Fellow’s opinion, human’s soul would remain immortal because of the glory of their life, but not because of the poetry. Therefore, here translation version three failed to convey the original meaning of the sentence. About the third paragraph, “But to act, that each tomorrow finds us father than today”, about this sentence, version two successfully maintain the original rhetorical device——personalization here, and translated it into” 要让每一个明天发现我们比今天走得远“.Version three writes that”集快马长剑，日日疾驰，待明日细数，功成如此“，which is too far away from the original text, and it cannot reoccur the amaze of the source poetry.

In the fourth stanza, “Art is long, and time is fleeting, And our hearts ……are beating Funeral marches to the grave.” Version one translated it as” 艺术长久，时光飞逝，我们的心尽管英勇而坚强“，version two translated it as “学艺费光阴，时日去匆忙，任我们的心勇敢又坚强”； translator in version three translated it as “任艺业无涯，光阴飞逝，彼壮士之心，英勇无疵”.From the sentence structure we can find that, the former two versions convey the original meaning better because we know that in this paragraph, here exists a comparison between the facts that our heart is brave and the facts that our heart is like a muffled drum which is beating funeral marches to the grave. Therefore, here should be words in the former part, here the words are “尽管“”任“. However, in the version three, the word”任” is used to decorate the ”art is long and time is fleeting.”, such transference actually has misinterpreted the meaning of the original text.

In the fifth stanza, “Be not like dumb, driven cattle! Be a hero in the strife!”, this sentence is translated into three different versions. Version one:”别作默默无声、任人驱使的牛羊，要在战斗中当一名闯将！”；Version two: “别作默默的牛羊任驱赶！要争取做英雄，能征惯战！”；Version three：“斯牛羊傀儡，安得其实，唯浴血烽火，终成其事”. Comparatively, version one is more flexible, because there is no limit in the number of the words in a line. But in version two, each line must have ten words, and in version three, each line has 8 words, which is set stable. Besides, version two and three separately added the external meaning of “能征惯战““终成其事”，but in the original text it is “Be a hero in the strife”, therefore, the two versions make some external decorations to the sentence.

In the sixth stanza, “Act—act in the living Present! Heart within, and God’s o’erhead!” version one goes that:”行动吧，就在活着的此刻行动！胸内有红心，头顶有上苍！”；version two goes that”干！在活生生的现在就干！胸中是赤心，上帝在云端！”；Translator in version three goes that”上苍行其道，我执其旨，即刻起征铎，不枉今日“；In the three versions, the former two versions are easier to understand, while the third one is more abstract because it transfers the role and function of “God”. Originally, God only is overhead, however, in version three, its function has changed, and also here the “act” is translated into”我行其旨”， which means that human’s action is actually obeying the hints of the God. This translation can better help readers understand why the poet put “God is overhead” here, which reflects the culture and religion of the western country, but in version one and two, such relationship is not so clear. All in all, the three versions have their own advantages and disadvantages, which are decided by the translators’ choice of expressions and their understanding of the poetry.

In the seventh stanza, “Lives of great men ……on the sands of time”, as for this sentence’s translation, version one goes that”伟大的人物的生平..我们也能使我们的一生变得高尚，在离开人间时，也能让足印……身后的时间的沙滩上” ；version two goes that“伟人的生平向我们指出：我们能使此生超群脱俗——一朝逝去，时间的沙滩上将留下脚印行行”；version three goes that“伟人之不朽，可为典示，倾我之所能，亦足至此，反肉身凡胎，终有一死，然我将留痕，流光之坻”；Similarly，the former two versions are more readable and easy to understand. However, the third version is far more beautiful and elegant, according to the principle that poetry translation is different from the daily conversation, and the expressions need to be elegant and beautiful. By enjoying the third translation, readers can fully and satisfactorily obtain the beauty and poet’s philosophic theory included in the poetry.

In the eighth stanza, “Footprints that perhaps another… Seeing, shall take heart again.”
Version one goes that“呵，足印！也许另一位弟兄，当他航行在生命庄严的海洋上，不幸遇难，看见了这些足印，他就会使勇气增长”；version two goes that“ 在庄严的生活之海航行，也许有兄弟会遭遇不幸，会因为航船沉没而绝望——但见那脚印，又变得顽强”； version three goes that “ 望生命之海，风急浪蚀，念天行无常，苦难游子，而前人足迹，必将明示，纵满盘皆输，壮志不失” These three translation versions have different effects upon readers. Version one did not translate the “shipwrecked” directly as “航船沉没“， but rather translated it as “不幸遇难”，which is actually more concise than version two”遭遇不幸，会因为航船沉没而绝望“. The three versions successfully achieve the effect of metaphor and translated it into”生命之海”,which can make the meaning of the original text more clear and vivid. Besides, the version three adds some special Chinese expressions such as “满盘皆输”“壮志不失”“苦难游子”“天行无常”， which are easy to understand for Chinese readers, however, it is not so easy for the other language speaking readers, so it is better to add some annotation in order to smooth the understanding.

In the ninth stanza, the poet summarize and sublime the theme of the poetry with “Still achieving, still pursuing, learn to labour and to wait.” Version one goes that”永远要有所作为，不断追求，学会劳动，也学会等待和期望。”；version two goes that“不断去收获，不断去追求；永远在学着苦干和等候。”；version three goes that “独精我所行，逐我所适，且耕且守望，丰收之时”. In version one, the word “labour” is translated as “劳动”,which is not so appropriate exactly. Version two translated it as“苦干”，and this is better because it is corresponding to the theme of this poetry——keeping acting in the living present. Version three, however, translated it into”耕“，which has the cultural meaning for readers. In China, “耕”means labour, and it is easy to understand.

===4. Conclusion===

Criticism and appreciation of poetry translation, just like poetry translation, it needs various principles to support it. Before you can make the poetry translation appreciation and criticism, it is necessary for you to know what is poetry and what are the principles of poetry translation. Various translators put forward different poetry writing and translating principles, which are also helpful for critics to appreciate the poetry translation.

The three versions of translation of ''A Psalm of Life'' successfully convey the meaning of the whole poetry to some extent, however, different versions have some differences in some detailed sentences because of the translator's different cultural backgrounds and translation strategies their respective translator chose. However, there is no doubt that the three are good translations, and they greatly help readers understand the original text better. In the process of appreciation and criticism, people can also learn how to translate poetry better, and this is a process of mutual promotion. Last but not least, the comparative analysis of different translations of poems is conducive for reader's understanding towards poems in front of the transcultural background. However, about criticism and appreciation of poetry translation, much more efforts are needed to explore more important methods of criticism and appreciation. There is still a long way to go.

===5. References===

M. A. R. Habib (2011). Literary Criticism from Plato to the Present [M]. Wiley-Blackwell A John Wiley & Sons, Inc, Publication.

Huang Gaoxin 黄杲炘（1986）. 英国抒情诗100首 100 British Lyrics [M]. 上海译文出版社. Shanghai Translation Press.

Lao She 老舍（1984）. 谈翻译 About Translation [A]. 翻译研究论文集 Collection of Essays on Translation Research [C]. 北京 Peking: 外语教学与研究社 Foreign Language Pedagogy and Research Press.

Li Ming 李明（2010）. 翻译批评与鉴赏 [M]. Transaction Criticism and Appreciation. 武汉 Wuhan: 武汉大学出版社 Wuhan University Press.

Liao Siping, Zhang Yu (2007). 用心和眼睛传递诠释灵魂的艺术——袁可嘉的外国诗歌翻译 [J]. Delivering and interpreting the art of soul with heart and eyes—Yuan Kejia's Translation of Foreign Poems[J]. 中国翻译 China Translation.

Ning Huiqin 宁会勤（2009）. 从《多佛海岸》浅析诗歌翻译 [J]. Analysis of Poetry Translation from ''Dover Strait'' [J]. 读与写杂志 Journal of Reading and Writing.

Yang Xiaorong 杨晓荣（2005）. 翻译批评导论 [M]. Introduction to Translation Criticism [M]. 北京 Peking: 中国对外出版翻译公司 China Foreign Publishing and Translation Corporation.

Xu Jun 许钧（2009）. 翻译概论 [M]. Introduction to Translation [M]. 北京 Peking: 外语教学与研究出版社 Foreign Language Pedagogy and Research Press.

Zhou Yi & Luo Ping (2005). 翻译与批评 [M]. Translation and Criticism [M]. 武汉 Wuhan: 湖北教育出版社 Hubei Education Press.

Guo Moruo 郭沫若（1979）. 讨论注释运动及其他 [M]. Discuss annotation campaigns and others [M]. 重庆 Chong Qing: 西南人民出版社 Southwest People's Press.

Dai Weidonf 戴炜栋（2018）. 新编简明英语语言学教程 [M]. A New Concise Course in Linguistics for Students of English [M]. 上海 Shanghai: 上海外语教育出版社 Shanghai Foreign Language Education Press.

Aesth App EN 1

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Zhu Suzhen: /* 1 Cticism and appreciation of poetry translation ——taking A Psalm of Life as an example */

Quicklink back to the overview page [[Translation Theories Applied to Literary Translations|Overview Page of Translation Theories Applied to Literary Translations]]

Chapter [[Theor_App_Lit_EN_1]]

=1 Criticism and appreciation of poetry translation ——taking ''A Psalm of Life'' as an example=

诗歌翻译批评与鉴赏——以《人生礼赞》为例

朱素珍 Zhu Suzhen, 202120081561,Hunan Normal University, China

===Abstract===
It is not difficult to translate poetry, and large quantities of translators and writers have provided us uncountable excellent translations of poetry. Unlike poetry translation, the criticism and appreciation of poetry translation is far more complicated. Despite of the complexity of the criticism and appreciation of poetry translation, some of the translators and ctitics have devoted themselves to it, and some breakthroughs have been made. Translators like Guo Moruo, Wen Yiduo, Li Ming, etc put forward their unique and thought-provoking principles of criticism and appreciation of poetry translation. These principles play an important role in the appreciation of poetry translation. Because of the great changes with our life and society, people live in a transcultural environment which develops in high speed.Is the criticism and appreciation of poetry translation conducive to the readers' understanding of the poetry in front of the transcultural background? How can critisiam and appreciation of poetry influenced reader's understanding of poetry? These questions are the focus of this paper. The author of this paper would mainly discuss the criticism and appreciation of poetry translation based on the comparative analysis of different versions of translation of the same poetry——''A Psalm of Life'', written by Henry Wordsworth Long Fellow. After the comparative analysis of three versions, whether the cultural factor has been considered or not can be uncovered clearly. Furthermore, in the process of criticism and appreciation, readers can also learn how to translate the poetry properly. Besides, such a method of analysis is also conducive to readers' appreciation of poetry translation in front of the transcultural background, which is inspiring and instructive.

===摘要===
翻译诗歌并不难，一大批译者和作家为我们提供了无数优秀的诗歌译本。与诗歌翻译不同，诗歌翻译的批评和鉴赏要复杂得多。尽管诗歌翻译的批评和鉴赏很复杂，一些译者和批评家都投入其中，并取得了一些突破。郭沫若、闻一多、李明等译者提出了自己独特的、发人深省的诗歌翻译批评与鉴赏原则。这些原则在诗歌翻译的鉴赏中起着重要的作用。由于我们的生活和社会发生了巨大的变化，人们生活在一个高速发展的跨文化环境中。诗歌翻译的批评和欣赏是否有利于读者在跨文化背景下理解诗歌？对诗歌的批评和欣赏如何影响读者对于诗歌的理解？这些问题是本文的重点。本文作者主要通过对同一首诗的不同译本的比较分析来探讨诗歌翻译的批评与鉴赏——以亨利·沃兹沃思·朗费罗所著《生命礼赞》为例，通过对三个版本比较分析，可以一目了然地看到文化因素是否被考虑进去了。此外，读者在诗歌翻译批评与鉴赏的过程中，也能学会如何正确地翻译诗歌，这样的分析方法也有利于读者在跨文化背景下欣赏诗歌翻译，具有启发性。

===Key words===
poetry translation; appreciation and criticism; comparative analysis; transcultural background

===关键词===
诗歌翻译; 批评与鉴赏；比较分析; 跨文化背景

===1. Introduction===
Varieties of human emotions and feelings can be recorded and transmitted by the form of poetry, which is an essential part of human life. For China, poetry has played a special and crucial role since the ancient times, with Tang dynasty as its peak period of development. Due to the powerful emotional expressiveness of poetry, many poets have adopted this genre for literary creation, producing rich and colourful poetry culture. Piles of wonderful poems have appeared like mushrooms after the rain. Not only in China, universal and common for humankind, poetry was chosen by quantities of western poets including Percy Bysshe Shelley, Robert Burns, Emily Dickinson, etc.

According to Aristotle, literature should have the function of purifying people's minds (Catharsis), that is to say, to educate them. Poetry makes it possible for poets to imitate and express their feelings toward the world. When the readers are reading the poetry, they can feel the emotions of the poet, for example the happiness, the sadness, the love for the nature, etc. There are not only the positive poets, and there are also the nagative poets who expressed negative attitude towards the world. About such negative attitude, readers can criticize it. During the process of appreciation and criticism, their virtue can be promoted, so they can reach a higher level of morality. Opposed to Aristotle, in Plato’s opinion, poetry is the second removal from reality, and it is a great danger for the unity of philosophy. Moreover, the poets should be exiled, and there should be strict censorship for the publication of poetry. Different philosophers have different ideas about poetry. And different poets can create different kinds of poems with rich titles and versatile structures. (M. A. R. Habib, 2011:10-18)

Besides, people speaking in different language and living in exotic culture are capable to write the poetry that is special to them. Such special point is stemming from the difference of language and culture. People are not unfamiliar with Sapir Wolf’s Theory of Linguistic Relativity which put forward that language decides how people think. It is such a strong and even a little decisive theory. However, it at least uncovers the relationship between language and culture. It is understandable that language is to some extent reflects how people are thinking， and the thinking can further show the influence of culture in the process of communication. For example, in China, people would say” Have you eaten?” when they meet each other occasionally. But the Chinese are not intentionally asking whether the hearer has eaten or not, and they are only expressing a kind of greeting. (Dai Weidong, 2018:128)

Therefore, when the foreigners hearing such a sentence, they would get confused. This is a typical example showing the culture’s important role in communication. Except for the spoken communication, culture would also influence the translation of literary works, such as poetry, novel and play, etc. In the translation of poetry, a professional translator has to put the factor of culture into consideration well in order to achieve a high-quality translation effect. Actually, poetry cross-culture translation is always an inevitable issue for translation, especially today we are in a high-speed developing cross-culture Time, naturally how to appreciate the translation of poetry is of great importance. (Dai Weidong, 2018:130)

===2.The principles of poetry translation appreciation and criticism===

====2.1 What is poetry====

First, it is necessary for us to know what is poetry. Poetry is a kind of literary style that summarizes and reflects the social life. Chinese famous writer Cao Wenxuan once said before that different from the novel, poetry expresses people’s feeling, while novelists write novels that reflect people’s experience. Poetry is the synthesis of experience rather than the experience itself. However, novel presents experience itself and leaves the feelings of experience to reader. In other words, readers need to obtain the feelings of experience by themselves after reading the novel thoroughly. But the poetry conveys the feelings directly, and readers can enjoy the wonderful feelings while reading. Here is an interesting comment about the relationship between poetry and novel: novel describes an awesome house, but poetry presents only the feelings and interjective toward the house. (Li Ming, 2010: 134)

Besides Cao Wenxuan, American poet Frost also has his own unique definition of poetry: Poetry is what has lost in translation. From the perspective of translation, this sentence amply points out the awkwardness and helplessness. Second, it is important to know what is poetry translation appreciation and criticism. Before that, poetry translation should be firstly taken into consideration. Poetry is a synthesis of ideational feelings, situational image, rhymical tempo and internal expression style. Translation poetry should consider these aspects. Translators should strive to transmit the rhymical sound and the spiritual aspects of poetry when they are making the translation readable and easy to be understood. (Ning Huiqin，2009：34) (Li Ming, 2010: 203)

Moreover, the translation of poetry needs the poetic talents of translator. Just as what the famous writer Lao She said:” Translators who have poetic talents should try to translate poetry in the form of poetry, and they also need to make readers not only know the contents of the book but also the way in which how such contents were conveyed." Such comments just explain that besides the expression of meaning, making the original poetry’s style characteristics reoccurring is extremely significant.(Lao She, 1984: 131)

====2.2 Principles of poetry translation====

Now it is time to consider the principles of poetry translation. There is a saying that translation is difficult, especially the translation of literary works among which the poetry translation is far more difficult. This can be seen from the characteristic of poetry which resembles the peak of translation art, and the poetry translation needs to consider the beauty of meaning, sound and words. Therefore, the translation of poetry is a kind of sophisticated and integrate art. When it comes to the issue how to translate poetry, translators have their own unique opinions and perspectives. For example, Guo Moruo put forward the principle of “translating poetry with poetry”; Wen Yiduo supported the principle of “using the pen of poetry to translate poetry”.(Guo Moruo,1979:144)

Moreover, some other translators put forward that poetry translation has two principles. Principle one is that poetry translation should pay attention to avoid the commonization of language. That is to say if translators translate poetry with plain and common even inflexible words and expressions and ignore the unique characteristics of poetic language and the individual poet’s language characteristics, which would not only fail to keep the original poetry’s expressional style but also fail to convey the spiritual soul of the original poetry (Liao Siping, Zhang Yu, 2007: 53). The other principle prescribes that the poetry translation should avoid the nationalization of poetry form. For example, it would make the poetry translation neither fish nor fowl even vulgarization if we translate the foreign poetry into our Chinese neat and uniform poetry forms like a poem with five characters in a line or with seven characters in a line or even the folk song style compulsively (Liao Siping, Zhang Yu, 2007: 53-54)

Last but not least, poetry translation is a process of recreation. What does it mean? That is to say when translators are translating poetry, they not only need to maintain the original condition in which the poetry is written but also be able to be flexible appropriately. As for this point, Song Yinghao professor in Tai Wan, China once said that in the process of translation the translators need to be invisible. And he also supported the principles of “translating poetry with poetry”. Actually, after having a thorough understanding of what is poetry translation and some of the principles of poetry translation, it is not so difficult for us to understand that poetry is an organic synthesis. Poetry itself is a life body. Therefore, the translation of poetry also needs to be a “life body”, and translators have to make the vivid situations that occur in the original poetry reoccurring in the translation versions poetry.（Liao Siping, Zhang Yu, 2007: 53）

Now it is time to consider the principles of poetry translation. There is a saying that translation is difficult, especially the translation of literary works among which the poetry translation is far more difficult. This can be seen from the characteristic of poetry which resembles the peak of translation art, and the poetry translation needs to consider the beauty of meaning, sound and words. Therefore, the translation of poetry is a kind of sophisticated and integrate art. When it comes to the issue how to translate poetry, translators have their own unique opinions and perspectives. For example, Guo Moruo put forward the principle of “translating poetry with poetry”; Wen Yiduo supported the principle of “using the pen of poetry to translate poetry”.

Moreover, some other translators put forward that poetry translation has two principles. Principle one is that poetry translation should pay attention to avoid the commonization of language. That is to say if translators translate poetry with plain and common even inflexible words and expressions and ignore the unique characteristics of poetic language and the individual poet’s language characteristics, which would not only fail to keep the original poetry’s expressional style but also fail to convey the spiritual soul of the original poetry (Liao Siping, Zhang Yu, 2007: 53). The other principle prescribes that the poetry translation should avoid the nationalization of poetry form. For example, it would make the poetry translation neither fish nor fowl even vulgarization if we translate the foreign poetry into our Chinese neat and uniform poetry forms like a poem with five characters in a line or with seven characters in a line or even the folk song style compulsively (Liao Siping, Zhang Yu, 2007: 53-54)

====2.3 What is poetry translation appreciation and criticism====

Later, there is no doubt that we need principles to prescribe our behavior of poetry translation appreciation and criticism. Some influential translators have put forward lots of meaningful poetry translation principles. Actually, the principles of poetry translation are one of the most important criteria of poetry translation appreciation and criticism. Under the guidance of such principles the translators have the possibility to smooth the process of translation without losing the original amaze of the poetry. At the same time, these important principles can also be used to check if the translators have obeyed them or not. Thus, one of the ways in which the critics do the literary criticism occurs. By the way, translators' subjectivity can not be ignored at the same time. Because translation can be seen as a recreation process, thus the translators can make their subjectivity work in this process. Through the integrate consideration of the original poetry creation condition and the readers’ cultural background, translators are able to translate the poetry wonderfully thus making the purpose of transmitting culture and literature realized.(Xu Jun, 2009: 156)

====2.4 Principles of poetry translation appreciation and criticism====

Later, there is no doubt that we need principles to prescribe our behavior of poetry translation appreciation and criticism. Some influential translators have put forward lots of meaningful poetry translation principles. Actually, the principles of poetry translation are one of the most important criteria of poetry translation appreciation and criticism. Under the guidance of such principles the translators have the possibility to smooth the process of translation without losing the original amaze of the poetry. At the same time, these important principles can also be used to check if the translators have obeyed them or not. Thus, one of the ways in which the critics do the literary criticism occurs. By the way, translator’s subjectivity can not be ignored at the same time. Because translation can be seen as a recreation process, thus the translators can make their subjectivity work in this process. Through the integrate consideration of the original poetry creation condition and the readers’ cultural background, translators are able to translate the poetry wonderfully thus making the purpose of transmitting culture and literature realized. (Zhou Yi & Luo Ping, 2005: 167)

===3. Comparative analysis of different version of translation of poetry===

In this part, it is necessary to make some comparative analysis between different versions of translation so as to do the poetry translation appreciation and criticism. As we all known, translation is also a process in which the translators try to recreate and translate. Translators are the creators at the same time. Because of their different culture background, educational background, their translation experience and some other factors, different translators can create different versions of poetry. Therefore, in this process we can experience how the translators construct and create the translation based on their embodied experience and professional quality.

It is not uncommon that the same poetry may have different versions of translation. And the appreciation of translation is to analyze how the translators translate it and why they would try to translate in such a way. At the same time, translation appreciation is not just a process to appreciate it, it is also a process to learn. Translation can be seen as a bridge that relates the reader and the writer in different language background. Without translation, it is impossible to transmit the beauty and amaze of literary works to more people, not less achieving a grandeur and multi-cultural literature feast. The translators are like the builder of the bridge, and their subjective factors including attitude, spirit as well as objective factors involving building method, the natural factors and so on are a unified system that would influence how the builders construct the bridge. It is believed that there are no best versions of translation, but better one. Therefore, the unlimited nature of translation makes it possible for us to make a comparison between kinds of versions, because there is no best translation but better one.

English poetry is like an endless sea in which different kind of poets devote themselves to the poetry creation. Because of the limited writing space, I will choose one of the famous and significant English poetries and its corresponding translation versions of Chinese. Then it is necessary to analyze the different aspects of the different translation versions of the same poetry. It is a common place that the same poetry can be translated into various versions. At this time, which version is better and the reasons need to be explained.
For example, a woman went to a shop to buy clothes. And she had tried so many dresses, shirts and blouses, etc. Then she needs criteria to help her decide which one she would like to buy. The criteria can be set by different people in various ways. But the woman is unique and she cannot be replaced by others, how about the clothes? Different clothes designers have different design rules and principles, and then we have such a colorful and multi-modal clothing world. Just like this, poetry translators are the clothing designers, and the different kinds of clothes resemble the various versions of translations. Like the cloth designers, the poetry translators have the right to recreate, but only on the basis of remaining the original colors and styles of the source poetry. Or it will make the poetry translations neither fish nor fowl. ( Li Ming, 2010: 204)

Let’s look at some examples of the poetry translation versions and try to make a comparative analysis between them. “A psalm of life” is the work of the excellent American Romanticism poet Henry Wordsworth Long Fellow. In 1839, Long Fellow published his first series of poems “Voice of the Night” in which the famous A Psalm of Life, A Psalm of Night were included. Long Fellow’s poems are elegant, plain and clear. His poems have greatly influenced American literature, and his poems were translated into more than twenty kinds of versions in different languages. In 'A Psalm of Life', Long Fellow praises life positively, which reflects the American people’s sound in the heart, and at that time, American capitalism has entered a period of vigorous development. According to Qian Zhongshu’s research, the Chinese version of ''A Psalm of Life'' is the first western poem being translated into Chinese. It was the Dong Xun, the Ministry of Revenue in Xian Feng period of the Qing dynasty, that first translated ''A Psalm of Life'' in the form of seven words in a line. However, the translation at that time was not so good, so it even aroused the old intellectuals’ contempt for western literature. Later, thanks to the appearance of new versions of translation of ''A Psalm of Life'', it widely circulated in China (Li Ming, 2010: 206-207).

Now let us try to analyze the different translation versions of ''A Psalm of Life''. First, let’s look at the original contents of this poem.

''A Psalm of Life''

Henry Wordsworth Long Fellow

Tell me not in mournful numbers,

Life is but an empty dream!

For the soul is dead that slumbers,

And things are not what they seem.

Life is real! Life is earnest!

And the grave is not its goal;

Dust thou art, to dust returnest,

Was not spoken of the soul.

Not enjoyment, and not sorrow,

Is our destined end or way;

But to act, that each tomorrow

Finds us farther than today.

Art is long, and time is fleeting,

And our hearts, though stout and brave,

Still, like muffled drums, are beating

Funeral marches to the grave.

In the world’s broad field of battle,

In the bivouac of life,

Be not like dumb, driven cattle!

Be a hero in the strife!

Trust no Future, howe’er pleasant!

Let the dead Past bury its dead!

Act—act in the living Present!

Heart within, and God’s o’erhead!

Lives of great men all remind us

We can make our lives sublime,

And, departing, leave behind us

Footprints on the sands of time;

Footprints that perhaps another,

Sailing o’er life’s solemn main,

A forlorn and shipwrecked brother,

Seeing, shall take heart again.

Let us, then, be up and doing,

With a heart for any fate;

Still achieving, still pursuing,

Learn to labour and to wait.

This poem is short but powerful with ample contents and lucid structure, showing readers strong emotional shock. The whole poem consists of nine stanzas, and each stanza has four verse lines, therefore, thirty-six lines in all. It can be divided into four parts to discuss the life in the eye of Long Fellow. The first two stanzas mainly correct the wrong and depraved argument that “life is but an empty dream”, and tell readers that “Life is real! Life is earnest!”

From the third stanza to the sixth stanza, Long Fellow discussed the issue that how to live life and suggest people act in the living present, which is the theme of this poetry. The seventh and the eighth stanza highlights the virtue and meaning of life. At the same time, the example of great people is used to encourage readers. Only the people who act in the living present can be remembered thus leaving footprints on the sands of time. This corresponds to what has been discussed in the second paragraph: Only the body will disappear, but not the soul of people. A person’s soul would be immortal because of the glory of life.

The last stanza are the summary and sublimation of the whole poetry. Long Fellow appeals to readers that they should act in the living present and be brave to confront the challenges in life. Finally, the poet summarizes the poetry with a thought-provoking sentence: “Still achieving, still pursuing.”, which corresponds to the subject of the poetry——acting in the living present. The poetry is full of the optimistic spirit and ample passion, and the poetry expresses the poet’s enthusiasm and pursuit of life as well as the positive and hardworking life attitude, criticizing the decadent attitude of life is but an empty dream.
Now let us see the Chinese versions of translations of A Psalm of Life. ( the author of this paper's analysis of ''A Psalm of Life'')

译文一：

'''生命的礼赞'''

别用悲伤的语调对我呻吟，

“人生不过是梦幻一场”！

因为沉睡中的灵魂已经死去，

万物并非它们显示的模样。

生命是真实的！生活是严肃的！

它们的终点决不是坟场；

“你来自尘土，必归于尘土”；

但这是指肉体，灵魂并未死亡。

我们注定的结局和道路，

既不是享乐，也不是悲伤；

而是行动，为了每一个明天，

使我们比今天走得更远更长。

艺术长久，韶光飞逝，

我们的心尽管英勇而坚强，

却仍像阵阵低沉的鼓声，

正朝着坟墓把哀乐敲响。

在世界辽阔的战场上，

在生命的露宿的营地上，

别作默默无声、任人驱使的牛羊，

要在战斗中当一名闯将！

莫信托未来，不管它怎样欢畅！

让逝去的岁月将死者埋葬！

行动吧，就在活着的此刻行动！

胸内有红心，头顶有上苍！

伟大的人物的生平把我们提醒，

我们能使我们的一生变得高尚，

在离开人间时，也能让足印

遗留在我们身后的时间的沙滩上。

呵，足印！也许另一位弟兄，

当他航行在生命庄严的海洋上，

不幸遇难，看见了这些足印，

他就会使勇气重新增长。

那么让我们振奋起来行动吧，

我们准备迎接任何命运的风浪；

永远要有所作为，不断追求，

学会劳动，也学会等待和期望。

（黄新渠译）

译文二

'''生之颂'''

别用悲切的诗句对我唱：

“人生只是虚幻的梦一场！”

因为昏睡的灵魂已死亡，

而事物不是看来那模样。

人生多真切！它绝非虚度！

一抔黄土哪里会是它的归宿；

“你来自泥尘，得重归泥尘，”

这句话所指的并不是灵魂。

我们命定的终点和道路

既不是享乐，也不是悲苦；

行动吧；要让每一个明天

发现我们比今天走得远。

学艺费光阴，时日去匆忙，

任我们的心勇敢又坚强，

依然像一些蒙住的鼓——

敲打着哀乐走向那坟墓。

在风云世界的广阔战场，

在人生征途的野宿营帐，

别像默默的牛羊任驱赶！

要争做英雄，能征惯战！

将来再美好也别空指望！

让死的过去把死的埋葬！

干！在活生生的现在就干！

胸中是赤心，上帝在云端！

伟人的生平向我们指出：

我们能使此生超群脱俗——

一朝逝去，时间的沙滩上

将留下我们的脚印行行。

在庄严的生活之海航行，

也许有兄弟会遭到不幸，

会因为航船沉没而绝望——

但见那脚印，又变得顽强。

让我们挺起身，行动起来，

凭对付任何的胸怀，

不断去收获，不断去追求；

永远在学着苦干和等候。

（黄杲忻译）

译文三

'''生之颂'''

莫向我吟唱，哀戚之词

叹生如梦境，虚无所炽

灵魂之沉睡，恍若长辞

而世间万物，伪装如缁

因孤坟荒土，非我命旨

因生之馥郁，真切如是

既生于尘滞，复归尘滞

而九天魂灵，长存如诗

决不为欢声，抑或悲思

我生之所往，道长如斯

集快马长剑，日日疾驰

待明日细数，功成如此

任艺业无涯，光阴飞逝

彼壮士之心，英勇无疵

奈战鼓哀亡，冢林墓石

怜其怨其殇，命魂所指

观我生所在，浮华乱世

观风云乾坤，辽阔如帜

斯牛羊傀儡，安得其实

唯浴血烽火，终成其事

纵欢娱无尽，未来未至

任亡者葬弃，过往已失

上苍行其道，我执其旨

即可启征铎，不枉今日

伟人之不朽，可为典示

倾我之所能，亦足至此

反肉身凡胎，终有一死

然我将留痕，流光之坻

望生命之海，风急浪蚀

念天行无常，苦难游子

而前人足迹，必将明示

纵满盘皆输，壮志不失

集生之全力，勿候勿止

有备则无惧，命运之矢

独精我所行，逐我所适

且耕且守望，丰收之时

（张瑶译）

First of all, in terms of the title, the first translation is a tribute to life, and the second translation uses the song of life. The topic of the second translation is concise and clear, and the writing style is more ancient. The translation is relatively easy to understand in terms of overall translation, and the language is relatively plain and life-oriented. The first sentence "Tell me not in mournful numbers", the three translations have their own emphasis, the first translation is "Don't whisper to me in a sad tone", the "tell" is translated as "低吟"; the second translation is "Tell" is translated as "唱"; the third translation is translated as "吟唱".

For "Life is but an empty dream", translators of the first and second translations both translated it as "Life is just an illusory dream", which basically achieves the effect of "expressing meaning", while the third translation is translated as "sorrowful words", the author believes that it is biased, because it does not convey the charm of "life is like a dream" in the original text, and it misses the meaning of dreams. In addition, the full text of the third translation is neatly aligned, and the rhythm is the same as the original. The first line and the third line are rhythmical, and the second and fourth lines are also rhythmical. This reproduces the style of the original text. In this aspect, translation one and translation two do not do so well. Translation two rhymes with the first and second lines; the third and the fourth lines rhyme also; version one hardly rhymes.

In the second stanza, the translation of "Life is real, life is earnest!" translates two "life" into "生命" and "生活" respectively. They are neatly opposed, but they may misinterpret the meaning of the original poem. Life is here. What exactly is meant needs to be carefully considered. In the second translation, "life" is translated as “人生", and "life is earnest!" is translated as "it is not in vain". This is a conversion of positive and negative translation, which surprises readers.
For “Dust thou art, to dust returnest, Was not spoken of the soul”, version one translated it as “你来自尘土，必将归于尘土，但这指的是肉体，灵魂并未死亡”，version one added the meaning of “it refers to the body”, making this sentence easier to be understood. Version three translated it as “既生于尘滞，复归尘滞，而九天魂灵，长存如诗“.In this translation, the translators thinks that human’s soul would not disappear, and it would last forever like poetry. However, we know that in Long Fellow’s opinion, human’s soul would remain immortal because of the glory of their life, but not because of the poetry. Therefore, here translation version three failed to convey the original meaning of the sentence. About the third paragraph, “But to act, that each tomorrow finds us father than today”, about this sentence, version two successfully maintain the original rhetorical device——personalization here, and translated it into” 要让每一个明天发现我们比今天走得远“.Version three writes that”集快马长剑，日日疾驰，待明日细数，功成如此“，which is too far away from the original text, and it cannot reoccur the amaze of the source poetry.

In the fourth stanza, “Art is long, and time is fleeting, And our hearts ……are beating Funeral marches to the grave.” Version one translated it as” 艺术长久，时光飞逝，我们的心尽管英勇而坚强“，version two translated it as “学艺费光阴，时日去匆忙，任我们的心勇敢又坚强”； translator in version three translated it as “任艺业无涯，光阴飞逝，彼壮士之心，英勇无疵”.From the sentence structure we can find that, the former two versions convey the original meaning better because we know that in this paragraph, here exists a comparison between the facts that our heart is brave and the facts that our heart is like a muffled drum which is beating funeral marches to the grave. Therefore, here should be words in the former part, here the words are “尽管“”任“. However, in the version three, the word”任” is used to decorate the ”art is long and time is fleeting.”, such transference actually has misinterpreted the meaning of the original text.

In the fifth stanza, “Be not like dumb, driven cattle! Be a hero in the strife!”, this sentence is translated into three different versions. Version one:”别作默默无声、任人驱使的牛羊，要在战斗中当一名闯将！”；Version two: “别作默默的牛羊任驱赶！要争取做英雄，能征惯战！”；Version three：“斯牛羊傀儡，安得其实，唯浴血烽火，终成其事”. Comparatively, version one is more flexible, because there is no limit in the number of the words in a line. But in version two, each line must have ten words, and in version three, each line has 8 words, which is set stable. Besides, version two and three separately added the external meaning of “能征惯战““终成其事”，but in the original text it is “Be a hero in the strife”, therefore, the two versions make some external decorations to the sentence.

In the sixth stanza, “Act—act in the living Present! Heart within, and God’s o’erhead!” version one goes that:”行动吧，就在活着的此刻行动！胸内有红心，头顶有上苍！”；version two goes that”干！在活生生的现在就干！胸中是赤心，上帝在云端！”；Translator in version three goes that”上苍行其道，我执其旨，即刻起征铎，不枉今日“；In the three versions, the former two versions are easier to understand, while the third one is more abstract because it transfers the role and function of “God”. Originally, God only is overhead, however, in version three, its function has changed, and also here the “act” is translated into”我行其旨”， which means that human’s action is actually obeying the hints of the God. This translation can better help readers understand why the poet put “God is overhead” here, which reflects the culture and religion of the western country, but in version one and two, such relationship is not so clear. All in all, the three versions have their own advantages and disadvantages, which are decided by the translators’ choice of expressions and their understanding of the poetry.

In the seventh stanza, “Lives of great men ……on the sands of time”, as for this sentence’s translation, version one goes that”伟大的人物的生平..我们也能使我们的一生变得高尚，在离开人间时，也能让足印……身后的时间的沙滩上” ；version two goes that“伟人的生平向我们指出：我们能使此生超群脱俗——一朝逝去，时间的沙滩上将留下脚印行行”；version three goes that“伟人之不朽，可为典示，倾我之所能，亦足至此，反肉身凡胎，终有一死，然我将留痕，流光之坻”；Similarly，the former two versions are more readable and easy to understand. However, the third version is far more beautiful and elegant, according to the principle that poetry translation is different from the daily conversation, and the expressions need to be elegant and beautiful. By enjoying the third translation, readers can fully and satisfactorily obtain the beauty and poet’s philosophic theory included in the poetry.

In the eighth stanza, “Footprints that perhaps another… Seeing, shall take heart again.”
Version one goes that“呵，足印！也许另一位弟兄，当他航行在生命庄严的海洋上，不幸遇难，看见了这些足印，他就会使勇气增长”；version two goes that“ 在庄严的生活之海航行，也许有兄弟会遭遇不幸，会因为航船沉没而绝望——但见那脚印，又变得顽强”； version three goes that “ 望生命之海，风急浪蚀，念天行无常，苦难游子，而前人足迹，必将明示，纵满盘皆输，壮志不失” These three translation versions have different effects upon readers. Version one did not translate the “shipwrecked” directly as “航船沉没“， but rather translated it as “不幸遇难”，which is actually more concise than version two”遭遇不幸，会因为航船沉没而绝望“. The three versions successfully achieve the effect of metaphor and translated it into”生命之海”,which can make the meaning of the original text more clear and vivid. Besides, the version three adds some special Chinese expressions such as “满盘皆输”“壮志不失”“苦难游子”“天行无常”， which are easy to understand for Chinese readers, however, it is not so easy for the other language speaking readers, so it is better to add some annotation in order to smooth the understanding.

In the ninth stanza, the poet summarize and sublime the theme of the poetry with “Still achieving, still pursuing, learn to labour and to wait.” Version one goes that”永远要有所作为，不断追求，学会劳动，也学会等待和期望。”；version two goes that“不断去收获，不断去追求；永远在学着苦干和等候。”；version three goes that “独精我所行，逐我所适，且耕且守望，丰收之时”. In version one, the word “labour” is translated as “劳动”,which is not so appropriate exactly. Version two translated it as“苦干”，and this is better because it is corresponding to the theme of this poetry——keeping acting in the living present. Version three, however, translated it into”耕“，which has the cultural meaning for readers. In China, “耕”means labour, and it is easy to understand.

===4. Conclusion===

Criticism and appreciation of poetry translation, just like poetry translation, it needs various principles to support it. Before you can make the poetry translation appreciation and criticism, it is necessary for you to know what is poetry and what are the principles of poetry translation. Various translators put forward different poetry writing and translating principles, which are also helpful for critics to appreciate the poetry translation.

The three versions of translation of ''A Psalm of Life'' successfully convey the meaning of the whole poetry to some extent, however, different versions have some differences in some detailed sentences because of the translator's different cultural backgrounds and translation strategies their respective translator chose. However, there is no doubt that the three are good translations, and they greatly help readers understand the original text better. In the process of appreciation and criticism, people can also learn how to translate poetry better, and this is a process of mutual promotion. Last but not least, the comparative analysis of different translations of poems is conducive for reader's understanding towards poems in front of the transcultural background. However, about criticism and appreciation of poetry translation, much more efforts are needed to explore more important methods of criticism and appreciation. There is still a long way to go.

===5. References===

M. A. R. Habib (2011). Literary Criticism from Plato to the Present [M]. Wiley-Blackwell A John Wiley & Sons, Inc, Publication.

Huang Gaoxin 黄杲炘（1986）. 英国抒情诗100首 100 British Lyrics [M]. 上海译文出版社. Shanghai Translation Press.

Lao She 老舍（1984）. 谈翻译 About Translation [A]. 翻译研究论文集 Collection of Essays on Translation Research [C]. 北京 Peking: 外语教学与研究社 Foreign Language Pedagogy and Research Press.

Li Ming 李明（2010）. 翻译批评与鉴赏 [M]. Transaction Criticism and Appreciation. 武汉 Wuhan: 武汉大学出版社 Wuhan University Press.

Liao Siping, Zhang Yu (2007). 用心和眼睛传递诠释灵魂的艺术——袁可嘉的外国诗歌翻译 [J]. Delivering and interpreting the art of soul with heart and eyes—Yuan Kejia's Translation of Foreign Poems[J]. 中国翻译 China Translation.

Ning Huiqin 宁会勤（2009）. 从《多佛海岸》浅析诗歌翻译 [J]. Analysis of Poetry Translation from ''Dover Strait'' [J]. 读与写杂志 Journal of Reading and Writing.

Yang Xiaorong 杨晓荣（2005）. 翻译批评导论 [M]. Introduction to Translation Criticism [M]. 北京 Peking: 中国对外出版翻译公司 China Foreign Publishing and Translation Corporation.

Xu Jun 许钧（2009）. 翻译概论 [M]. Introduction to Translation [M]. 北京 Peking: 外语教学与研究出版社 Foreign Language Pedagogy and Research Press.

Zhou Yi & Luo Ping (2005). 翻译与批评 [M]. Translation and Criticism [M]. 武汉 Wuhan: 湖北教育出版社 Hubei Education Press.

Guo Moruo 郭沫若（1979）. 讨论注释运动及其他 [M]. Discuss annotation campaigns and others [M]. 重庆 Chong Qing: 西南人民出版社 Southwest People's Press.

Dai Weidonf 戴炜栋（2018）. 新编简明英语语言学教程 [M]. A New Concise Course in Linguistics for Students of English [M]. 上海 Shanghai: 上海外语教育出版社 Shanghai Foreign Language Education Press.

Aesth App EN 1

2021-12-30T12:50:42Z

Zhu Suzhen: /* 1 Cticism and appreciation of poetry translation ——taking A Psalm of Life as an example */

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=1 Criticism and appreciation of poetry translation ——taking ''A Psalm of Life'' as an example=

诗歌翻译批评与鉴赏——以《人生礼赞》为例

朱素珍 Zhu Suzhen, 202120081561,Hunan Normal University, China

===Abstract===
It is not difficult to translate poetry, and large quantities of translators and writers have provided us uncountable excellent translations of poetry. Unlike poetry translation, the criticism and appreciation of poetry translation is far more complicated. Despite of the complexity of the cticism and appreciation of poetry translation, some of the translators and ctitics have devoted themselves to it, and some breakthroughs have been made. Translators like Guo Moruo, Wen Yiduo, Li Ming, etc put forward their unique and thought-provoking principles of criticism and appreciation of poetry translation. These principles play an important role in the appreciation of poetry translation. Because of the great changes with our life and society, people live in a transcultural environment which develops in high speed.Is the criticism and appreciation of poetry translation conducive to the readers' understanding of the poetry in front of the transcultural background? How can critisiam and appreciation of poetry influenced reader's understanding of poetry? These questions are the focus of this paper. The author of this paper would mainly discuss the criticism and appreciation of poetry translation based on the comparative analysis of different versions of translation of the same poetry——''A Psalm of Life'', written by Henry Wordsworth Long Fellow. After the comparative analysis of three versions, whether the cultural factor has been considered or not can be uncovered clearly. Furthermore, in the process of cticism and appreciation, readers can also learn how to translate the poetry properly. Besides, such a method of analysis is also conducive to readers' appreciation of poetry translation in front of the transcultural background, which is inspiring and instructive.

===摘要===
翻译诗歌并不难，一大批译者和作家为我们提供了无数优秀的诗歌译本。与诗歌翻译不同，诗歌翻译的批评和鉴赏要复杂得多。尽管诗歌翻译的批评和鉴赏很复杂，一些译者和批评家都投入其中，并取得了一些突破。郭沫若、闻一多、李明等译者提出了自己独特的、发人深省的诗歌翻译批评与鉴赏原则。这些原则在诗歌翻译的鉴赏中起着重要的作用。由于我们的生活和社会发生了巨大的变化，人们生活在一个高速发展的跨文化环境中。诗歌翻译的批评和欣赏是否有利于读者在跨文化背景下理解诗歌？对诗歌的批评和欣赏如何影响读者对于诗歌的理解？这些问题是本文的重点。本文作者主要通过对同一首诗的不同译本的比较分析来探讨诗歌翻译的批评与鉴赏——以亨利·沃兹沃思·朗费罗所著《生命礼赞》为例，通过对三个版本比较分析，可以一目了然地看到文化因素是否被考虑进去了。此外，读者在诗歌翻译批评与鉴赏的过程中，也能学会如何正确地翻译诗歌，这样的分析方法也有利于读者在跨文化背景下欣赏诗歌翻译，具有启发性。

===Key words===
poetry translation; appreciation and criticism; comparative analysis; transcultural background

===关键词===
诗歌翻译; 批评与鉴赏；比较分析; 跨文化背景

===1. Introduction===
Varieties of human emotions and feelings can be recorded and transmitted by the form of poetry, which is an essential part of human life. For China, poetry has played a special and crucial role since the ancient times, with Tang dynasty as its peak period of development. Due to the powerful emotional expressiveness of poetry, many poets have adopted this genre for literary creation, producing rich and colourful poetry culture. Piles of wonderful poems have appeared like mushrooms after the rain. Not only in China, universal and common for humankind, poetry was chosen by quantities of western poets including Percy Bysshe Shelley, Robert Burns, Emily Dickinson, etc.

According to Aristotle, literature should have the function of purifying people's minds (Catharsis), that is to say, to educate them. Poetry makes it possible for poets to imitate and express their feelings toward the world. When the readers are reading the poetry, they can feel the emotions of the poet, for example the happiness, the sadness, the love for the nature, etc. There are not only the positive poets, and there are also the nagative poets who expressed negative attitude towards the world. About such negative attitude, readers can criticize it. During the process of appreciation and criticism, their virtue can be promoted, so they can reach a higher level of morality. Opposed to Aristotle, in Plato’s opinion, poetry is the second removal from reality, and it is a great danger for the unity of philosophy. Moreover, the poets should be exiled, and there should be strict censorship for the publication of poetry. Different philosophers have different ideas about poetry. And different poets can create different kinds of poems with rich titles and versatile structures. (M. A. R. Habib, 2011:10-18)

Besides, people speaking in different language and living in exotic culture are capable to write the poetry that is special to them. Such special point is stemming from the difference of language and culture. People are not unfamiliar with Sapir Wolf’s Theory of Linguistic Relativity which put forward that language decides how people think. It is such a strong and even a little decisive theory. However, it at least uncovers the relationship between language and culture. It is understandable that language is to some extent reflects how people are thinking， and the thinking can further show the influence of culture in the process of communication. For example, in China, people would say” Have you eaten?” when they meet each other occasionally. But the Chinese are not intentionally asking whether the hearer has eaten or not, and they are only expressing a kind of greeting. (Dai Weidong, 2018:128)

Therefore, when the foreigners hearing such a sentence, they would get confused. This is a typical example showing the culture’s important role in communication. Except for the spoken communication, culture would also influence the translation of literary works, such as poetry, novel and play, etc. In the translation of poetry, a professional translator has to put the factor of culture into consideration well in order to achieve a high-quality translation effect. Actually, poetry cross-culture translation is always an inevitable issue for translation, especially today we are in a high-speed developing cross-culture Time, naturally how to appreciate the translation of poetry is of great importance. (Dai Weidong, 2018:130)

===2.The principles of poetry translation appreciation and criticism===

====2.1 What is poetry====

First, it is necessary for us to know what is poetry. Poetry is a kind of literary style that summarizes and reflects the social life. Chinese famous writer Cao Wenxuan once said before that different from the novel, poetry expresses people’s feeling, while novelists write novels that reflect people’s experience. Poetry is the synthesis of experience rather than the experience itself. However, novel presents experience itself and leaves the feelings of experience to reader. In other words, readers need to obtain the feelings of experience by themselves after reading the novel thoroughly. But the poetry conveys the feelings directly, and readers can enjoy the wonderful feelings while reading. Here is an interesting comment about the relationship between poetry and novel: novel describes an awesome house, but poetry presents only the feelings and interjective toward the house. (Li Ming, 2010: 134)

Besides Cao Wenxuan, American poet Frost also has his own unique definition of poetry: Poetry is what has lost in translation. From the perspective of translation, this sentence amply points out the awkwardness and helplessness. Second, it is important to know what is poetry translation appreciation and criticism. Before that, poetry translation should be firstly taken into consideration. Poetry is a synthesis of ideational feelings, situational image, rhymical tempo and internal expression style. Translation poetry should consider these aspects. Translators should strive to transmit the rhymical sound and the spiritual aspects of poetry when they are making the translation readable and easy to be understood. (Ning Huiqin，2009：34) (Li Ming, 2010: 203)

Moreover, the translation of poetry needs the poetic talents of translator. Just as what the famous writer Lao She said:” Translators who have poetic talents should try to translate poetry in the form of poetry, and they also need to make readers not only know the contents of the book but also the way in which how such contents were conveyed." Such comments just explain that besides the expression of meaning, making the original poetry’s style characteristics reoccurring is extremely significant.(Lao She, 1984: 131)

====2.2 Principles of poetry translation====

Now it is time to consider the principles of poetry translation. There is a saying that translation is difficult, especially the translation of literary works among which the poetry translation is far more difficult. This can be seen from the characteristic of poetry which resembles the peak of translation art, and the poetry translation needs to consider the beauty of meaning, sound and words. Therefore, the translation of poetry is a kind of sophisticated and integrate art. When it comes to the issue how to translate poetry, translators have their own unique opinions and perspectives. For example, Guo Moruo put forward the principle of “translating poetry with poetry”; Wen Yiduo supported the principle of “using the pen of poetry to translate poetry”.(Guo Moruo,1979:144)

Moreover, some other translators put forward that poetry translation has two principles. Principle one is that poetry translation should pay attention to avoid the commonization of language. That is to say if translators translate poetry with plain and common even inflexible words and expressions and ignore the unique characteristics of poetic language and the individual poet’s language characteristics, which would not only fail to keep the original poetry’s expressional style but also fail to convey the spiritual soul of the original poetry (Liao Siping, Zhang Yu, 2007: 53). The other principle prescribes that the poetry translation should avoid the nationalization of poetry form. For example, it would make the poetry translation neither fish nor fowl even vulgarization if we translate the foreign poetry into our Chinese neat and uniform poetry forms like a poem with five characters in a line or with seven characters in a line or even the folk song style compulsively (Liao Siping, Zhang Yu, 2007: 53-54)

Last but not least, poetry translation is a process of recreation. What does it mean? That is to say when translators are translating poetry, they not only need to maintain the original condition in which the poetry is written but also be able to be flexible appropriately. As for this point, Song Yinghao professor in Tai Wan, China once said that in the process of translation the translators need to be invisible. And he also supported the principles of “translating poetry with poetry”. Actually, after having a thorough understanding of what is poetry translation and some of the principles of poetry translation, it is not so difficult for us to understand that poetry is an organic synthesis. Poetry itself is a life body. Therefore, the translation of poetry also needs to be a “life body”, and translators have to make the vivid situations that occur in the original poetry reoccurring in the translation versions poetry.（Liao Siping, Zhang Yu, 2007: 53）

Now it is time to consider the principles of poetry translation. There is a saying that translation is difficult, especially the translation of literary works among which the poetry translation is far more difficult. This can be seen from the characteristic of poetry which resembles the peak of translation art, and the poetry translation needs to consider the beauty of meaning, sound and words. Therefore, the translation of poetry is a kind of sophisticated and integrate art. When it comes to the issue how to translate poetry, translators have their own unique opinions and perspectives. For example, Guo Moruo put forward the principle of “translating poetry with poetry”; Wen Yiduo supported the principle of “using the pen of poetry to translate poetry”.

Moreover, some other translators put forward that poetry translation has two principles. Principle one is that poetry translation should pay attention to avoid the commonization of language. That is to say if translators translate poetry with plain and common even inflexible words and expressions and ignore the unique characteristics of poetic language and the individual poet’s language characteristics, which would not only fail to keep the original poetry’s expressional style but also fail to convey the spiritual soul of the original poetry (Liao Siping, Zhang Yu, 2007: 53). The other principle prescribes that the poetry translation should avoid the nationalization of poetry form. For example, it would make the poetry translation neither fish nor fowl even vulgarization if we translate the foreign poetry into our Chinese neat and uniform poetry forms like a poem with five characters in a line or with seven characters in a line or even the folk song style compulsively (Liao Siping, Zhang Yu, 2007: 53-54)

====2.3 What is poetry translation appreciation and criticism====

Later, there is no doubt that we need principles to prescribe our behavior of poetry translation appreciation and criticism. Some influential translators have put forward lots of meaningful poetry translation principles. Actually, the principles of poetry translation are one of the most important criteria of poetry translation appreciation and criticism. Under the guidance of such principles the translators have the possibility to smooth the process of translation without losing the original amaze of the poetry. At the same time, these important principles can also be used to check if the translators have obeyed them or not. Thus, one of the ways in which the critics do the literary criticism occurs. By the way, translators' subjectivity can not be ignored at the same time. Because translation can be seen as a recreation process, thus the translators can make their subjectivity work in this process. Through the integrate consideration of the original poetry creation condition and the readers’ cultural background, translators are able to translate the poetry wonderfully thus making the purpose of transmitting culture and literature realized.(Xu Jun, 2009: 156)

====2.4 Principles of poetry translation appreciation and criticism====

Later, there is no doubt that we need principles to prescribe our behavior of poetry translation appreciation and criticism. Some influential translators have put forward lots of meaningful poetry translation principles. Actually, the principles of poetry translation are one of the most important criteria of poetry translation appreciation and criticism. Under the guidance of such principles the translators have the possibility to smooth the process of translation without losing the original amaze of the poetry. At the same time, these important principles can also be used to check if the translators have obeyed them or not. Thus, one of the ways in which the critics do the literary criticism occurs. By the way, translator’s subjectivity can not be ignored at the same time. Because translation can be seen as a recreation process, thus the translators can make their subjectivity work in this process. Through the integrate consideration of the original poetry creation condition and the readers’ cultural background, translators are able to translate the poetry wonderfully thus making the purpose of transmitting culture and literature realized. (Zhou Yi & Luo Ping, 2005: 167)

===3. Comparative analysis of different version of translation of poetry===

In this part, it is necessary to make some comparative analysis between different versions of translation so as to do the poetry translation appreciation and criticism. As we all known, translation is also a process in which the translators try to recreate and translate. Translators are the creators at the same time. Because of their different culture background, educational background, their translation experience and some other factors, different translators can create different versions of poetry. Therefore, in this process we can experience how the translators construct and create the translation based on their embodied experience and professional quality.

It is not uncommon that the same poetry may have different versions of translation. And the appreciation of translation is to analyze how the translators translate it and why they would try to translate in such a way. At the same time, translation appreciation is not just a process to appreciate it, it is also a process to learn. Translation can be seen as a bridge that relates the reader and the writer in different language background. Without translation, it is impossible to transmit the beauty and amaze of literary works to more people, not less achieving a grandeur and multi-cultural literature feast. The translators are like the builder of the bridge, and their subjective factors including attitude, spirit as well as objective factors involving building method, the natural factors and so on are a unified system that would influence how the builders construct the bridge. It is believed that there are no best versions of translation, but better one. Therefore, the unlimited nature of translation makes it possible for us to make a comparison between kinds of versions, because there is no best translation but better one.

English poetry is like an endless sea in which different kind of poets devote themselves to the poetry creation. Because of the limited writing space, I will choose one of the famous and significant English poetries and its corresponding translation versions of Chinese. Then it is necessary to analyze the different aspects of the different translation versions of the same poetry. It is a common place that the same poetry can be translated into various versions. At this time, which version is better and the reasons need to be explained.
For example, a woman went to a shop to buy clothes. And she had tried so many dresses, shirts and blouses, etc. Then she needs criteria to help her decide which one she would like to buy. The criteria can be set by different people in various ways. But the woman is unique and she cannot be replaced by others, how about the clothes? Different clothes designers have different design rules and principles, and then we have such a colorful and multi-modal clothing world. Just like this, poetry translators are the clothing designers, and the different kinds of clothes resemble the various versions of translations. Like the cloth designers, the poetry translators have the right to recreate, but only on the basis of remaining the original colors and styles of the source poetry. Or it will make the poetry translations neither fish nor fowl. ( Li Ming, 2010: 204)

Let’s look at some examples of the poetry translation versions and try to make a comparative analysis between them. “A psalm of life” is the work of the excellent American Romanticism poet Henry Wordsworth Long Fellow. In 1839, Long Fellow published his first series of poems “Voice of the Night” in which the famous A Psalm of Life, A Psalm of Night were included. Long Fellow’s poems are elegant, plain and clear. His poems have greatly influenced American literature, and his poems were translated into more than twenty kinds of versions in different languages. In 'A Psalm of Life', Long Fellow praises life positively, which reflects the American people’s sound in the heart, and at that time, American capitalism has entered a period of vigorous development. According to Qian Zhongshu’s research, the Chinese version of ''A Psalm of Life'' is the first western poem being translated into Chinese. It was the Dong Xun, the Ministry of Revenue in Xian Feng period of the Qing dynasty, that first translated ''A Psalm of Life'' in the form of seven words in a line. However, the translation at that time was not so good, so it even aroused the old intellectuals’ contempt for western literature. Later, thanks to the appearance of new versions of translation of ''A Psalm of Life'', it widely circulated in China (Li Ming, 2010: 206-207).

Now let us try to analyze the different translation versions of ''A Psalm of Life''. First, let’s look at the original contents of this poem.

''A Psalm of Life''

Henry Wordsworth Long Fellow

Tell me not in mournful numbers,

Life is but an empty dream!

For the soul is dead that slumbers,

And things are not what they seem.

Life is real! Life is earnest!

And the grave is not its goal;

Dust thou art, to dust returnest,

Was not spoken of the soul.

Not enjoyment, and not sorrow,

Is our destined end or way;

But to act, that each tomorrow

Finds us farther than today.

Art is long, and time is fleeting,

And our hearts, though stout and brave,

Still, like muffled drums, are beating

Funeral marches to the grave.

In the world’s broad field of battle,

In the bivouac of life,

Be not like dumb, driven cattle!

Be a hero in the strife!

Trust no Future, howe’er pleasant!

Let the dead Past bury its dead!

Act—act in the living Present!

Heart within, and God’s o’erhead!

Lives of great men all remind us

We can make our lives sublime,

And, departing, leave behind us

Footprints on the sands of time;

Footprints that perhaps another,

Sailing o’er life’s solemn main,

A forlorn and shipwrecked brother,

Seeing, shall take heart again.

Let us, then, be up and doing,

With a heart for any fate;

Still achieving, still pursuing,

Learn to labour and to wait.

This poem is short but powerful with ample contents and lucid structure, showing readers strong emotional shock. The whole poem consists of nine stanzas, and each stanza has four verse lines, therefore, thirty-six lines in all. It can be divided into four parts to discuss the life in the eye of Long Fellow. The first two stanzas mainly correct the wrong and depraved argument that “life is but an empty dream”, and tell readers that “Life is real! Life is earnest!”

From the third stanza to the sixth stanza, Long Fellow discussed the issue that how to live life and suggest people act in the living present, which is the theme of this poetry. The seventh and the eighth stanza highlights the virtue and meaning of life. At the same time, the example of great people is used to encourage readers. Only the people who act in the living present can be remembered thus leaving footprints on the sands of time. This corresponds to what has been discussed in the second paragraph: Only the body will disappear, but not the soul of people. A person’s soul would be immortal because of the glory of life.

The last stanza are the summary and sublimation of the whole poetry. Long Fellow appeals to readers that they should act in the living present and be brave to confront the challenges in life. Finally, the poet summarizes the poetry with a thought-provoking sentence: “Still achieving, still pursuing.”, which corresponds to the subject of the poetry——acting in the living present. The poetry is full of the optimistic spirit and ample passion, and the poetry expresses the poet’s enthusiasm and pursuit of life as well as the positive and hardworking life attitude, criticizing the decadent attitude of life is but an empty dream.
Now let us see the Chinese versions of translations of A Psalm of Life. ( the author of this paper's analysis of ''A Psalm of Life'')

译文一：

'''生命的礼赞'''

别用悲伤的语调对我呻吟，

“人生不过是梦幻一场”！

因为沉睡中的灵魂已经死去，

万物并非它们显示的模样。

生命是真实的！生活是严肃的！

它们的终点决不是坟场；

“你来自尘土，必归于尘土”；

但这是指肉体，灵魂并未死亡。

我们注定的结局和道路，

既不是享乐，也不是悲伤；

而是行动，为了每一个明天，

使我们比今天走得更远更长。

艺术长久，韶光飞逝，

我们的心尽管英勇而坚强，

却仍像阵阵低沉的鼓声，

正朝着坟墓把哀乐敲响。

在世界辽阔的战场上，

在生命的露宿的营地上，

别作默默无声、任人驱使的牛羊，

要在战斗中当一名闯将！

莫信托未来，不管它怎样欢畅！

让逝去的岁月将死者埋葬！

行动吧，就在活着的此刻行动！

胸内有红心，头顶有上苍！

伟大的人物的生平把我们提醒，

我们能使我们的一生变得高尚，

在离开人间时，也能让足印

遗留在我们身后的时间的沙滩上。

呵，足印！也许另一位弟兄，

当他航行在生命庄严的海洋上，

不幸遇难，看见了这些足印，

他就会使勇气重新增长。

那么让我们振奋起来行动吧，

我们准备迎接任何命运的风浪；

永远要有所作为，不断追求，

学会劳动，也学会等待和期望。

（黄新渠译）

译文二

'''生之颂'''

别用悲切的诗句对我唱：

“人生只是虚幻的梦一场！”

因为昏睡的灵魂已死亡，

而事物不是看来那模样。

人生多真切！它绝非虚度！

一抔黄土哪里会是它的归宿；

“你来自泥尘，得重归泥尘，”

这句话所指的并不是灵魂。

我们命定的终点和道路

既不是享乐，也不是悲苦；

行动吧；要让每一个明天

发现我们比今天走得远。

学艺费光阴，时日去匆忙，

任我们的心勇敢又坚强，

依然像一些蒙住的鼓——

敲打着哀乐走向那坟墓。

在风云世界的广阔战场，

在人生征途的野宿营帐，

别像默默的牛羊任驱赶！

要争做英雄，能征惯战！

将来再美好也别空指望！

让死的过去把死的埋葬！

干！在活生生的现在就干！

胸中是赤心，上帝在云端！

伟人的生平向我们指出：

我们能使此生超群脱俗——

一朝逝去，时间的沙滩上

将留下我们的脚印行行。

在庄严的生活之海航行，

也许有兄弟会遭到不幸，

会因为航船沉没而绝望——

但见那脚印，又变得顽强。

让我们挺起身，行动起来，

凭对付任何的胸怀，

不断去收获，不断去追求；

永远在学着苦干和等候。

（黄杲忻译）

译文三

'''生之颂'''

莫向我吟唱，哀戚之词

叹生如梦境，虚无所炽

灵魂之沉睡，恍若长辞

而世间万物，伪装如缁

因孤坟荒土，非我命旨

因生之馥郁，真切如是

既生于尘滞，复归尘滞

而九天魂灵，长存如诗

决不为欢声，抑或悲思

我生之所往，道长如斯

集快马长剑，日日疾驰

待明日细数，功成如此

任艺业无涯，光阴飞逝

彼壮士之心，英勇无疵

奈战鼓哀亡，冢林墓石

怜其怨其殇，命魂所指

观我生所在，浮华乱世

观风云乾坤，辽阔如帜

斯牛羊傀儡，安得其实

唯浴血烽火，终成其事

纵欢娱无尽，未来未至

任亡者葬弃，过往已失

上苍行其道，我执其旨

即可启征铎，不枉今日

伟人之不朽，可为典示

倾我之所能，亦足至此

反肉身凡胎，终有一死

然我将留痕，流光之坻

望生命之海，风急浪蚀

念天行无常，苦难游子

而前人足迹，必将明示

纵满盘皆输，壮志不失

集生之全力，勿候勿止

有备则无惧，命运之矢

独精我所行，逐我所适

且耕且守望，丰收之时

（张瑶译）

First of all, in terms of the title, the first translation is a tribute to life, and the second translation uses the song of life. The topic of the second translation is concise and clear, and the writing style is more ancient. The translation is relatively easy to understand in terms of overall translation, and the language is relatively plain and life-oriented. The first sentence "Tell me not in mournful numbers", the three translations have their own emphasis, the first translation is "Don't whisper to me in a sad tone", the "tell" is translated as "低吟"; the second translation is "Tell" is translated as "唱"; the third translation is translated as "吟唱".

For "Life is but an empty dream", translators of the first and second translations both translated it as "Life is just an illusory dream", which basically achieves the effect of "expressing meaning", while the third translation is translated as "sorrowful words", the author believes that it is biased, because it does not convey the charm of "life is like a dream" in the original text, and it misses the meaning of dreams. In addition, the full text of the third translation is neatly aligned, and the rhythm is the same as the original. The first line and the third line are rhythmical, and the second and fourth lines are also rhythmical. This reproduces the style of the original text. In this aspect, translation one and translation two do not do so well. Translation two rhymes with the first and second lines; the third and the fourth lines rhyme also; version one hardly rhymes.

In the second stanza, the translation of "Life is real, life is earnest!" translates two "life" into "生命" and "生活" respectively. They are neatly opposed, but they may misinterpret the meaning of the original poem. Life is here. What exactly is meant needs to be carefully considered. In the second translation, "life" is translated as “人生", and "life is earnest!" is translated as "it is not in vain". This is a conversion of positive and negative translation, which surprises readers.
For “Dust thou art, to dust returnest, Was not spoken of the soul”, version one translated it as “你来自尘土，必将归于尘土，但这指的是肉体，灵魂并未死亡”，version one added the meaning of “it refers to the body”, making this sentence easier to be understood. Version three translated it as “既生于尘滞，复归尘滞，而九天魂灵，长存如诗“.In this translation, the translators thinks that human’s soul would not disappear, and it would last forever like poetry. However, we know that in Long Fellow’s opinion, human’s soul would remain immortal because of the glory of their life, but not because of the poetry. Therefore, here translation version three failed to convey the original meaning of the sentence. About the third paragraph, “But to act, that each tomorrow finds us father than today”, about this sentence, version two successfully maintain the original rhetorical device——personalization here, and translated it into” 要让每一个明天发现我们比今天走得远“.Version three writes that”集快马长剑，日日疾驰，待明日细数，功成如此“，which is too far away from the original text, and it cannot reoccur the amaze of the source poetry.

In the fourth stanza, “Art is long, and time is fleeting, And our hearts ……are beating Funeral marches to the grave.” Version one translated it as” 艺术长久，时光飞逝，我们的心尽管英勇而坚强“，version two translated it as “学艺费光阴，时日去匆忙，任我们的心勇敢又坚强”； translator in version three translated it as “任艺业无涯，光阴飞逝，彼壮士之心，英勇无疵”.From the sentence structure we can find that, the former two versions convey the original meaning better because we know that in this paragraph, here exists a comparison between the facts that our heart is brave and the facts that our heart is like a muffled drum which is beating funeral marches to the grave. Therefore, here should be words in the former part, here the words are “尽管“”任“. However, in the version three, the word”任” is used to decorate the ”art is long and time is fleeting.”, such transference actually has misinterpreted the meaning of the original text.

In the fifth stanza, “Be not like dumb, driven cattle! Be a hero in the strife!”, this sentence is translated into three different versions. Version one:”别作默默无声、任人驱使的牛羊，要在战斗中当一名闯将！”；Version two: “别作默默的牛羊任驱赶！要争取做英雄，能征惯战！”；Version three：“斯牛羊傀儡，安得其实，唯浴血烽火，终成其事”. Comparatively, version one is more flexible, because there is no limit in the number of the words in a line. But in version two, each line must have ten words, and in version three, each line has 8 words, which is set stable. Besides, version two and three separately added the external meaning of “能征惯战““终成其事”，but in the original text it is “Be a hero in the strife”, therefore, the two versions make some external decorations to the sentence.

In the sixth stanza, “Act—act in the living Present! Heart within, and God’s o’erhead!” version one goes that:”行动吧，就在活着的此刻行动！胸内有红心，头顶有上苍！”；version two goes that”干！在活生生的现在就干！胸中是赤心，上帝在云端！”；Translator in version three goes that”上苍行其道，我执其旨，即刻起征铎，不枉今日“；In the three versions, the former two versions are easier to understand, while the third one is more abstract because it transfers the role and function of “God”. Originally, God only is overhead, however, in version three, its function has changed, and also here the “act” is translated into”我行其旨”， which means that human’s action is actually obeying the hints of the God. This translation can better help readers understand why the poet put “God is overhead” here, which reflects the culture and religion of the western country, but in version one and two, such relationship is not so clear. All in all, the three versions have their own advantages and disadvantages, which are decided by the translators’ choice of expressions and their understanding of the poetry.

In the seventh stanza, “Lives of great men ……on the sands of time”, as for this sentence’s translation, version one goes that”伟大的人物的生平..我们也能使我们的一生变得高尚，在离开人间时，也能让足印……身后的时间的沙滩上” ；version two goes that“伟人的生平向我们指出：我们能使此生超群脱俗——一朝逝去，时间的沙滩上将留下脚印行行”；version three goes that“伟人之不朽，可为典示，倾我之所能，亦足至此，反肉身凡胎，终有一死，然我将留痕，流光之坻”；Similarly，the former two versions are more readable and easy to understand. However, the third version is far more beautiful and elegant, according to the principle that poetry translation is different from the daily conversation, and the expressions need to be elegant and beautiful. By enjoying the third translation, readers can fully and satisfactorily obtain the beauty and poet’s philosophic theory included in the poetry.

In the eighth stanza, “Footprints that perhaps another… Seeing, shall take heart again.”
Version one goes that“呵，足印！也许另一位弟兄，当他航行在生命庄严的海洋上，不幸遇难，看见了这些足印，他就会使勇气增长”；version two goes that“ 在庄严的生活之海航行，也许有兄弟会遭遇不幸，会因为航船沉没而绝望——但见那脚印，又变得顽强”； version three goes that “ 望生命之海，风急浪蚀，念天行无常，苦难游子，而前人足迹，必将明示，纵满盘皆输，壮志不失” These three translation versions have different effects upon readers. Version one did not translate the “shipwrecked” directly as “航船沉没“， but rather translated it as “不幸遇难”，which is actually more concise than version two”遭遇不幸，会因为航船沉没而绝望“. The three versions successfully achieve the effect of metaphor and translated it into”生命之海”,which can make the meaning of the original text more clear and vivid. Besides, the version three adds some special Chinese expressions such as “满盘皆输”“壮志不失”“苦难游子”“天行无常”， which are easy to understand for Chinese readers, however, it is not so easy for the other language speaking readers, so it is better to add some annotation in order to smooth the understanding.

In the ninth stanza, the poet summarize and sublime the theme of the poetry with “Still achieving, still pursuing, learn to labour and to wait.” Version one goes that”永远要有所作为，不断追求，学会劳动，也学会等待和期望。”；version two goes that“不断去收获，不断去追求；永远在学着苦干和等候。”；version three goes that “独精我所行，逐我所适，且耕且守望，丰收之时”. In version one, the word “labour” is translated as “劳动”,which is not so appropriate exactly. Version two translated it as“苦干”，and this is better because it is corresponding to the theme of this poetry——keeping acting in the living present. Version three, however, translated it into”耕“，which has the cultural meaning for readers. In China, “耕”means labour, and it is easy to understand.

===4. Conclusion===

Criticism and appreciation of poetry translation, just like poetry translation, it needs various principles to support it. Before you can make the poetry translation appreciation and criticism, it is necessary for you to know what is poetry and what are the principles of poetry translation. Various translators put forward different poetry writing and translating principles, which are also helpful for critics to appreciate the poetry translation.

The three versions of translation of ''A Psalm of Life'' successfully convey the meaning of the whole poetry to some extent, however, different versions have some differences in some detailed sentences because of the translator's different cultural backgrounds and translation strategies their respective translator chose. However, there is no doubt that the three are good translations, and they greatly help readers understand the original text better. In the process of appreciation and criticism, people can also learn how to translate poetry better, and this is a process of mutual promotion. Last but not least, the comparative analysis of different translations of poems is conducive for reader's understanding towards poems in front of the transcultural background. However, about criticism and appreciation of poetry translation, much more efforts are needed to explore more important methods of criticism and appreciation. There is still a long way to go.

===5. References===

M. A. R. Habib (2011). Literary Criticism from Plato to the Present [M]. Wiley-Blackwell A John Wiley & Sons, Inc, Publication.

Huang Gaoxin 黄杲炘（1986）. 英国抒情诗100首 100 British Lyrics [M]. 上海译文出版社. Shanghai Translation Press.

Lao She 老舍（1984）. 谈翻译 About Translation [A]. 翻译研究论文集 Collection of Essays on Translation Research [C]. 北京 Peking: 外语教学与研究社 Foreign Language Pedagogy and Research Press.

Li Ming 李明（2010）. 翻译批评与鉴赏 [M]. Transaction Criticism and Appreciation. 武汉 Wuhan: 武汉大学出版社 Wuhan University Press.

Liao Siping, Zhang Yu (2007). 用心和眼睛传递诠释灵魂的艺术——袁可嘉的外国诗歌翻译 [J]. Delivering and interpreting the art of soul with heart and eyes—Yuan Kejia's Translation of Foreign Poems[J]. 中国翻译 China Translation.

Ning Huiqin 宁会勤（2009）. 从《多佛海岸》浅析诗歌翻译 [J]. Analysis of Poetry Translation from ''Dover Strait'' [J]. 读与写杂志 Journal of Reading and Writing.

Yang Xiaorong 杨晓荣（2005）. 翻译批评导论 [M]. Introduction to Translation Criticism [M]. 北京 Peking: 中国对外出版翻译公司 China Foreign Publishing and Translation Corporation.

Xu Jun 许钧（2009）. 翻译概论 [M]. Introduction to Translation [M]. 北京 Peking: 外语教学与研究出版社 Foreign Language Pedagogy and Research Press.

Zhou Yi & Luo Ping (2005). 翻译与批评 [M]. Translation and Criticism [M]. 武汉 Wuhan: 湖北教育出版社 Hubei Education Press.

Guo Moruo 郭沫若（1979）. 讨论注释运动及其他 [M]. Discuss annotation campaigns and others [M]. 重庆 Chong Qing: 西南人民出版社 Southwest People's Press.

Dai Weidonf 戴炜栋（2018）. 新编简明英语语言学教程 [M]. A New Concise Course in Linguistics for Students of English [M]. 上海 Shanghai: 上海外语教育出版社 Shanghai Foreign Language Education Press.

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Aesthetic Appreciation of Literary Translations

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诗歌翻译批评与鉴赏——以《人生礼赞》为例

朱素珍 Zhu Suzhen, 202120081561,Hunan Normal University, China

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邹岳丽 Zou Yueli Hunan Normal University, China

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=1 Cticism and appreciation of poetry translation ——taking ''A Psalm of Life'' as an example=

诗歌翻译批评与鉴赏——以《人生礼赞》为例

朱素珍 Zhu Suzhen, 202120081561,Hunan Normal University, China

===Abstract===
It is not difficult to translate poetry, and large quantities of translators and writers have provided us uncountable excellent translations of poetry. Unlike poetry translation, the criticism and appreciation of poetry translation is far more complicated. Despite of the complexity of the cticism and appreciation of poetry translation, some of the translators and ctitics have devoted themselves to it, and some breakthroughs have been made. Translators like Guo Moruo, Wen Yiduo, Li Ming, etc put forward their unique and thought-provoking principles of criticism and appreciation of poetry translation. These principles play an important role in the appreciation of poetry translation. Because of the great changes with our life and society, people live in a transcultural environment which develops in high speed.Is the criticism and appreciation of poetry translation conducive to the readers' understanding of the poetry in front of the transcultural background? How can critisiam and appreciation of poetry influenced reader's understanding of poetry? These questions are the focus of this paper. The author of this paper would mainly discuss the criticism and appreciation of poetry translation based on the comparative analysis of different versions of translation of the same poetry——''A Psalm of Life'', written by Henry Wordsworth Long Fellow. After the comparative analysis of three versions, whether the cultural factor has been considered or not can be uncovered clearly. Furthermore, in the process of cticism and appreciation, readers can also learn how to translate the poetry properly. Besides, such a method of analysis is also conducive to readers' appreciation of poetry translation in front of the transcultural background, which is inspiring and instructive.

===摘要===
翻译诗歌并不难，一大批译者和作家为我们提供了无数优秀的诗歌译本。与诗歌翻译不同，诗歌翻译的批评和鉴赏要复杂得多。尽管诗歌翻译的批评和鉴赏很复杂，一些译者和批评家都投入其中，并取得了一些突破。郭沫若、闻一多、李明等译者提出了自己独特的、发人深省的诗歌翻译批评与鉴赏原则。这些原则在诗歌翻译的鉴赏中起着重要的作用。由于我们的生活和社会发生了巨大的变化，人们生活在一个高速发展的跨文化环境中。诗歌翻译的批评和欣赏是否有利于读者在跨文化背景下理解诗歌？对诗歌的批评和欣赏如何影响读者对于诗歌的理解？这些问题是本文的重点。本文作者主要通过对同一首诗的不同译本的比较分析来探讨诗歌翻译的批评与鉴赏——以亨利·沃兹沃思·朗费罗所著《生命礼赞》为例，通过对三个版本比较分析，可以一目了然地看到文化因素是否被考虑进去了。此外，读者在诗歌翻译批评与鉴赏的过程中，也能学会如何正确地翻译诗歌，这样的分析方法也有利于读者在跨文化背景下欣赏诗歌翻译，具有启发性。

===Key words===
poetry translation; appreciation and criticism; comparative analysis; transcultural background

===关键词===
诗歌翻译; 批评与鉴赏；比较分析; 跨文化背景

===1. Introduction===
Varieties of human emotions and feelings can be recorded and transmitted by the form of poetry, which is an essential part of human life. For China, poetry has played a special and crucial role since the ancient times, with Tang dynasty as its peak period of development. Due to the powerful emotional expressiveness of poetry, many poets have adopted this genre for literary creation, producing rich and colourful poetry culture. Piles of wonderful poems have appeared like mushrooms after the rain. Not only in China, universal and common for humankind, poetry was chosen by quantities of western poets including Percy Bysshe Shelley, Robert Burns, Emily Dickinson, etc.

According to Aristotle, literature should have the function of purifying people's minds (Catharsis), that is to say, to educate them. Poetry makes it possible for poets to imitate and express their feelings toward the world. When the readers are reading the poetry, they can feel the emotions of the poet, for example the happiness, the sadness, the love for the nature, etc. There are not only the positive poets, and there are also the nagative poets who expressed negative attitude towards the world. About such negative attitude, readers can criticize it. During the process of appreciation and criticism, their virtue can be promoted, so they can reach a higher level of morality. Opposed to Aristotle, in Plato’s opinion, poetry is the second removal from reality, and it is a great danger for the unity of philosophy. Moreover, the poets should be exiled, and there should be strict censorship for the publication of poetry. Different philosophers have different ideas about poetry. And different poets can create different kinds of poems with rich titles and versatile structures. (M. A. R. Habib, 2011:10-18)

Besides, people speaking in different language and living in exotic culture are capable to write the poetry that is special to them. Such special point is stemming from the difference of language and culture. People are not unfamiliar with Sapir Wolf’s Theory of Linguistic Relativity which put forward that language decides how people think. It is such a strong and even a little decisive theory. However, it at least uncovers the relationship between language and culture. It is understandable that language is to some extent reflects how people are thinking， and the thinking can further show the influence of culture in the process of communication. For example, in China, people would say” Have you eaten?” when they meet each other occasionally. But the Chinese are not intentionally asking whether the hearer has eaten or not, and they are only expressing a kind of greeting. (Dai Weidong, 2018:128)

Therefore, when the foreigners hearing such a sentence, they would get confused. This is a typical example showing the culture’s important role in communication. Except for the spoken communication, culture would also influence the translation of literary works, such as poetry, novel and play, etc. In the translation of poetry, a professional translator has to put the factor of culture into consideration well in order to achieve a high-quality translation effect. Actually, poetry cross-culture translation is always an inevitable issue for translation, especially today we are in a high-speed developing cross-culture Time, naturally how to appreciate the translation of poetry is of great importance. (Dai Weidong, 2018:130)

===2.The principles of poetry translation appreciation and criticism===

====2.1 What is poetry====

First, it is necessary for us to know what is poetry. Poetry is a kind of literary style that summarizes and reflects the social life. Chinese famous writer Cao Wenxuan once said before that different from the novel, poetry expresses people’s feeling, while novelists write novels that reflect people’s experience. Poetry is the synthesis of experience rather than the experience itself. However, novel presents experience itself and leaves the feelings of experience to reader. In other words, readers need to obtain the feelings of experience by themselves after reading the novel thoroughly. But the poetry conveys the feelings directly, and readers can enjoy the wonderful feelings while reading. Here is an interesting comment about the relationship between poetry and novel: novel describes an awesome house, but poetry presents only the feelings and interjective toward the house. (Li Ming, 2010: 134)

Besides Cao Wenxuan, American poet Frost also has his own unique definition of poetry: Poetry is what has lost in translation. From the perspective of translation, this sentence amply points out the awkwardness and helplessness. Second, it is important to know what is poetry translation appreciation and criticism. Before that, poetry translation should be firstly taken into consideration. Poetry is a synthesis of ideational feelings, situational image, rhymical tempo and internal expression style. Translation poetry should consider these aspects. Translators should strive to transmit the rhymical sound and the spiritual aspects of poetry when they are making the translation readable and easy to be understood. (Ning Huiqin，2009：34) (Li Ming, 2010: 203)

Moreover, the translation of poetry needs the poetic talents of translator. Just as what the famous writer Lao She said:” Translators who have poetic talents should try to translate poetry in the form of poetry, and they also need to make readers not only know the contents of the book but also the way in which how such contents were conveyed." Such comments just explain that besides the expression of meaning, making the original poetry’s style characteristics reoccurring is extremely significant.(Lao She, 1984: 131)

====2.2 Principles of poetry translation====

Now it is time to consider the principles of poetry translation. There is a saying that translation is difficult, especially the translation of literary works among which the poetry translation is far more difficult. This can be seen from the characteristic of poetry which resembles the peak of translation art, and the poetry translation needs to consider the beauty of meaning, sound and words. Therefore, the translation of poetry is a kind of sophisticated and integrate art. When it comes to the issue how to translate poetry, translators have their own unique opinions and perspectives. For example, Guo Moruo put forward the principle of “translating poetry with poetry”; Wen Yiduo supported the principle of “using the pen of poetry to translate poetry”.(Guo Moruo,1979:144)

Moreover, some other translators put forward that poetry translation has two principles. Principle one is that poetry translation should pay attention to avoid the commonization of language. That is to say if translators translate poetry with plain and common even inflexible words and expressions and ignore the unique characteristics of poetic language and the individual poet’s language characteristics, which would not only fail to keep the original poetry’s expressional style but also fail to convey the spiritual soul of the original poetry (Liao Siping, Zhang Yu, 2007: 53). The other principle prescribes that the poetry translation should avoid the nationalization of poetry form. For example, it would make the poetry translation neither fish nor fowl even vulgarization if we translate the foreign poetry into our Chinese neat and uniform poetry forms like a poem with five characters in a line or with seven characters in a line or even the folk song style compulsively (Liao Siping, Zhang Yu, 2007: 53-54)

Last but not least, poetry translation is a process of recreation. What does it mean? That is to say when translators are translating poetry, they not only need to maintain the original condition in which the poetry is written but also be able to be flexible appropriately. As for this point, Song Yinghao professor in Tai Wan, China once said that in the process of translation the translators need to be invisible. And he also supported the principles of “translating poetry with poetry”. Actually, after having a thorough understanding of what is poetry translation and some of the principles of poetry translation, it is not so difficult for us to understand that poetry is an organic synthesis. Poetry itself is a life body. Therefore, the translation of poetry also needs to be a “life body”, and translators have to make the vivid situations that occur in the original poetry reoccurring in the translation versions poetry.（Liao Siping, Zhang Yu, 2007: 53）

Now it is time to consider the principles of poetry translation. There is a saying that translation is difficult, especially the translation of literary works among which the poetry translation is far more difficult. This can be seen from the characteristic of poetry which resembles the peak of translation art, and the poetry translation needs to consider the beauty of meaning, sound and words. Therefore, the translation of poetry is a kind of sophisticated and integrate art. When it comes to the issue how to translate poetry, translators have their own unique opinions and perspectives. For example, Guo Moruo put forward the principle of “translating poetry with poetry”; Wen Yiduo supported the principle of “using the pen of poetry to translate poetry”.

Moreover, some other translators put forward that poetry translation has two principles. Principle one is that poetry translation should pay attention to avoid the commonization of language. That is to say if translators translate poetry with plain and common even inflexible words and expressions and ignore the unique characteristics of poetic language and the individual poet’s language characteristics, which would not only fail to keep the original poetry’s expressional style but also fail to convey the spiritual soul of the original poetry (Liao Siping, Zhang Yu, 2007: 53). The other principle prescribes that the poetry translation should avoid the nationalization of poetry form. For example, it would make the poetry translation neither fish nor fowl even vulgarization if we translate the foreign poetry into our Chinese neat and uniform poetry forms like a poem with five characters in a line or with seven characters in a line or even the folk song style compulsively (Liao Siping, Zhang Yu, 2007: 53-54)

====2.3 What is poetry translation appreciation and criticism====

Later, there is no doubt that we need principles to prescribe our behavior of poetry translation appreciation and criticism. Some influential translators have put forward lots of meaningful poetry translation principles. Actually, the principles of poetry translation are one of the most important criteria of poetry translation appreciation and criticism. Under the guidance of such principles the translators have the possibility to smooth the process of translation without losing the original amaze of the poetry. At the same time, these important principles can also be used to check if the translators have obeyed them or not. Thus, one of the ways in which the critics do the literary criticism occurs. By the way, translators' subjectivity can not be ignored at the same time. Because translation can be seen as a recreation process, thus the translators can make their subjectivity work in this process. Through the integrate consideration of the original poetry creation condition and the readers’ cultural background, translators are able to translate the poetry wonderfully thus making the purpose of transmitting culture and literature realized.(Xu Jun, 2009: 156)

====2.4 Principles of poetry translation appreciation and criticism====

Later, there is no doubt that we need principles to prescribe our behavior of poetry translation appreciation and criticism. Some influential translators have put forward lots of meaningful poetry translation principles. Actually, the principles of poetry translation are one of the most important criteria of poetry translation appreciation and criticism. Under the guidance of such principles the translators have the possibility to smooth the process of translation without losing the original amaze of the poetry. At the same time, these important principles can also be used to check if the translators have obeyed them or not. Thus, one of the ways in which the critics do the literary criticism occurs. By the way, translator’s subjectivity can not be ignored at the same time. Because translation can be seen as a recreation process, thus the translators can make their subjectivity work in this process. Through the integrate consideration of the original poetry creation condition and the readers’ cultural background, translators are able to translate the poetry wonderfully thus making the purpose of transmitting culture and literature realized. (Zhou Yi & Luo Ping, 2005: 167)

===3. Comparative analysis of different version of translation of poetry===

In this part, it is necessary to make some comparative analysis between different versions of translation so as to do the poetry translation appreciation and criticism. As we all known, translation is also a process in which the translators try to recreate and translate. Translators are the creators at the same time. Because of their different culture background, educational background, their translation experience and some other factors, different translators can create different versions of poetry. Therefore, in this process we can experience how the translators construct and create the translation based on their embodied experience and professional quality.

It is not uncommon that the same poetry may have different versions of translation. And the appreciation of translation is to analyze how the translators translate it and why they would try to translate in such a way. At the same time, translation appreciation is not just a process to appreciate it, it is also a process to learn. Translation can be seen as a bridge that relates the reader and the writer in different language background. Without translation, it is impossible to transmit the beauty and amaze of literary works to more people, not less achieving a grandeur and multi-cultural literature feast. The translators are like the builder of the bridge, and their subjective factors including attitude, spirit as well as objective factors involving building method, the natural factors and so on are a unified system that would influence how the builders construct the bridge. It is believed that there are no best versions of translation, but better one. Therefore, the unlimited nature of translation makes it possible for us to make a comparison between kinds of versions, because there is no best translation but better one.

English poetry is like an endless sea in which different kind of poets devote themselves to the poetry creation. Because of the limited writing space, I will choose one of the famous and significant English poetries and its corresponding translation versions of Chinese. Then it is necessary to analyze the different aspects of the different translation versions of the same poetry. It is a common place that the same poetry can be translated into various versions. At this time, which version is better and the reasons need to be explained.
For example, a woman went to a shop to buy clothes. And she had tried so many dresses, shirts and blouses, etc. Then she needs criteria to help her decide which one she would like to buy. The criteria can be set by different people in various ways. But the woman is unique and she cannot be replaced by others, how about the clothes? Different clothes designers have different design rules and principles, and then we have such a colorful and multi-modal clothing world. Just like this, poetry translators are the clothing designers, and the different kinds of clothes resemble the various versions of translations. Like the cloth designers, the poetry translators have the right to recreate, but only on the basis of remaining the original colors and styles of the source poetry. Or it will make the poetry translations neither fish nor fowl. ( Li Ming, 2010: 204)

Let’s look at some examples of the poetry translation versions and try to make a comparative analysis between them. “A psalm of life” is the work of the excellent American Romanticism poet Henry Wordsworth Long Fellow. In 1839, Long Fellow published his first series of poems “Voice of the Night” in which the famous A Psalm of Life, A Psalm of Night were included. Long Fellow’s poems are elegant, plain and clear. His poems have greatly influenced American literature, and his poems were translated into more than twenty kinds of versions in different languages. In 'A Psalm of Life', Long Fellow praises life positively, which reflects the American people’s sound in the heart, and at that time, American capitalism has entered a period of vigorous development. According to Qian Zhongshu’s research, the Chinese version of ''A Psalm of Life'' is the first western poem being translated into Chinese. It was the Dong Xun, the Ministry of Revenue in Xian Feng period of the Qing dynasty, that first translated ''A Psalm of Life'' in the form of seven words in a line. However, the translation at that time was not so good, so it even aroused the old intellectuals’ contempt for western literature. Later, thanks to the appearance of new versions of translation of ''A Psalm of Life'', it widely circulated in China (Li Ming, 2010: 206-207).

Now let us try to analyze the different translation versions of ''A Psalm of Life''. First, let’s look at the original contents of this poem.

''A Psalm of Life''

Henry Wordsworth Long Fellow

Tell me not in mournful numbers,

Life is but an empty dream!

For the soul is dead that slumbers,

And things are not what they seem.

Life is real! Life is earnest!

And the grave is not its goal;

Dust thou art, to dust returnest,

Was not spoken of the soul.

Not enjoyment, and not sorrow,

Is our destined end or way;

But to act, that each tomorrow

Finds us farther than today.

Art is long, and time is fleeting,

And our hearts, though stout and brave,

Still, like muffled drums, are beating

Funeral marches to the grave.

In the world’s broad field of battle,

In the bivouac of life,

Be not like dumb, driven cattle!

Be a hero in the strife!

Trust no Future, howe’er pleasant!

Let the dead Past bury its dead!

Act—act in the living Present!

Heart within, and God’s o’erhead!

Lives of great men all remind us

We can make our lives sublime,

And, departing, leave behind us

Footprints on the sands of time;

Footprints that perhaps another,

Sailing o’er life’s solemn main,

A forlorn and shipwrecked brother,

Seeing, shall take heart again.

Let us, then, be up and doing,

With a heart for any fate;

Still achieving, still pursuing,

Learn to labour and to wait.

This poem is short but powerful with ample contents and lucid structure, showing readers strong emotional shock. The whole poem consists of nine stanzas, and each stanza has four verse lines, therefore, thirty-six lines in all. It can be divided into four parts to discuss the life in the eye of Long Fellow. The first two stanzas mainly correct the wrong and depraved argument that “life is but an empty dream”, and tell readers that “Life is real! Life is earnest!”

From the third stanza to the sixth stanza, Long Fellow discussed the issue that how to live life and suggest people act in the living present, which is the theme of this poetry. The seventh and the eighth stanza highlights the virtue and meaning of life. At the same time, the example of great people is used to encourage readers. Only the people who act in the living present can be remembered thus leaving footprints on the sands of time. This corresponds to what has been discussed in the second paragraph: Only the body will disappear, but not the soul of people. A person’s soul would be immortal because of the glory of life.

The last stanza are the summary and sublimation of the whole poetry. Long Fellow appeals to readers that they should act in the living present and be brave to confront the challenges in life. Finally, the poet summarizes the poetry with a thought-provoking sentence: “Still achieving, still pursuing.”, which corresponds to the subject of the poetry——acting in the living present. The poetry is full of the optimistic spirit and ample passion, and the poetry expresses the poet’s enthusiasm and pursuit of life as well as the positive and hardworking life attitude, criticizing the decadent attitude of life is but an empty dream.
Now let us see the Chinese versions of translations of A Psalm of Life. ( the author of this paper's analysis of ''A Psalm of Life'')

译文一：

'''生命的礼赞'''

别用悲伤的语调对我呻吟，

“人生不过是梦幻一场”！

因为沉睡中的灵魂已经死去，

万物并非它们显示的模样。

生命是真实的！生活是严肃的！

它们的终点决不是坟场；

“你来自尘土，必归于尘土”；

但这是指肉体，灵魂并未死亡。

我们注定的结局和道路，

既不是享乐，也不是悲伤；

而是行动，为了每一个明天，

使我们比今天走得更远更长。

艺术长久，韶光飞逝，

我们的心尽管英勇而坚强，

却仍像阵阵低沉的鼓声，

正朝着坟墓把哀乐敲响。

在世界辽阔的战场上，

在生命的露宿的营地上，

别作默默无声、任人驱使的牛羊，

要在战斗中当一名闯将！

莫信托未来，不管它怎样欢畅！

让逝去的岁月将死者埋葬！

行动吧，就在活着的此刻行动！

胸内有红心，头顶有上苍！

伟大的人物的生平把我们提醒，

我们能使我们的一生变得高尚，

在离开人间时，也能让足印

遗留在我们身后的时间的沙滩上。

呵，足印！也许另一位弟兄，

当他航行在生命庄严的海洋上，

不幸遇难，看见了这些足印，

他就会使勇气重新增长。

那么让我们振奋起来行动吧，

我们准备迎接任何命运的风浪；

永远要有所作为，不断追求，

学会劳动，也学会等待和期望。

（黄新渠译）

译文二

'''生之颂'''

别用悲切的诗句对我唱：

“人生只是虚幻的梦一场！”

因为昏睡的灵魂已死亡，

而事物不是看来那模样。

人生多真切！它绝非虚度！

一抔黄土哪里会是它的归宿；

“你来自泥尘，得重归泥尘，”

这句话所指的并不是灵魂。

我们命定的终点和道路

既不是享乐，也不是悲苦；

行动吧；要让每一个明天

发现我们比今天走得远。

学艺费光阴，时日去匆忙，

任我们的心勇敢又坚强，

依然像一些蒙住的鼓——

敲打着哀乐走向那坟墓。

在风云世界的广阔战场，

在人生征途的野宿营帐，

别像默默的牛羊任驱赶！

要争做英雄，能征惯战！

将来再美好也别空指望！

让死的过去把死的埋葬！

干！在活生生的现在就干！

胸中是赤心，上帝在云端！

伟人的生平向我们指出：

我们能使此生超群脱俗——

一朝逝去，时间的沙滩上

将留下我们的脚印行行。

在庄严的生活之海航行，

也许有兄弟会遭到不幸，

会因为航船沉没而绝望——

但见那脚印，又变得顽强。

让我们挺起身，行动起来，

凭对付任何的胸怀，

不断去收获，不断去追求；

永远在学着苦干和等候。

（黄杲忻译）

译文三

'''生之颂'''

莫向我吟唱，哀戚之词

叹生如梦境，虚无所炽

灵魂之沉睡，恍若长辞

而世间万物，伪装如缁

因孤坟荒土，非我命旨

因生之馥郁，真切如是

既生于尘滞，复归尘滞

而九天魂灵，长存如诗

决不为欢声，抑或悲思

我生之所往，道长如斯

集快马长剑，日日疾驰

待明日细数，功成如此

任艺业无涯，光阴飞逝

彼壮士之心，英勇无疵

奈战鼓哀亡，冢林墓石

怜其怨其殇，命魂所指

观我生所在，浮华乱世

观风云乾坤，辽阔如帜

斯牛羊傀儡，安得其实

唯浴血烽火，终成其事

纵欢娱无尽，未来未至

任亡者葬弃，过往已失

上苍行其道，我执其旨

即可启征铎，不枉今日

伟人之不朽，可为典示

倾我之所能，亦足至此

反肉身凡胎，终有一死

然我将留痕，流光之坻

望生命之海，风急浪蚀

念天行无常，苦难游子

而前人足迹，必将明示

纵满盘皆输，壮志不失

集生之全力，勿候勿止

有备则无惧，命运之矢

独精我所行，逐我所适

且耕且守望，丰收之时

（张瑶译）

First of all, in terms of the title, the first translation is a tribute to life, and the second translation uses the song of life. The topic of the second translation is concise and clear, and the writing style is more ancient. The translation is relatively easy to understand in terms of overall translation, and the language is relatively plain and life-oriented. The first sentence "Tell me not in mournful numbers", the three translations have their own emphasis, the first translation is "Don't whisper to me in a sad tone", the "tell" is translated as "低吟"; the second translation is "Tell" is translated as "唱"; the third translation is translated as "吟唱".

For "Life is but an empty dream", translators of the first and second translations both translated it as "Life is just an illusory dream", which basically achieves the effect of "expressing meaning", while the third translation is translated as "sorrowful words", the author believes that it is biased, because it does not convey the charm of "life is like a dream" in the original text, and it misses the meaning of dreams. In addition, the full text of the third translation is neatly aligned, and the rhythm is the same as the original. The first line and the third line are rhythmical, and the second and fourth lines are also rhythmical. This reproduces the style of the original text. In this aspect, translation one and translation two do not do so well. Translation two rhymes with the first and second lines; the third and the fourth lines rhyme also; version one hardly rhymes.

In the second stanza, the translation of "Life is real, life is earnest!" translates two "life" into "生命" and "生活" respectively. They are neatly opposed, but they may misinterpret the meaning of the original poem. Life is here. What exactly is meant needs to be carefully considered. In the second translation, "life" is translated as “人生", and "life is earnest!" is translated as "it is not in vain". This is a conversion of positive and negative translation, which surprises readers.
For “Dust thou art, to dust returnest, Was not spoken of the soul”, version one translated it as “你来自尘土，必将归于尘土，但这指的是肉体，灵魂并未死亡”，version one added the meaning of “it refers to the body”, making this sentence easier to be understood. Version three translated it as “既生于尘滞，复归尘滞，而九天魂灵，长存如诗“.In this translation, the translators thinks that human’s soul would not disappear, and it would last forever like poetry. However, we know that in Long Fellow’s opinion, human’s soul would remain immortal because of the glory of their life, but not because of the poetry. Therefore, here translation version three failed to convey the original meaning of the sentence. About the third paragraph, “But to act, that each tomorrow finds us father than today”, about this sentence, version two successfully maintain the original rhetorical device——personalization here, and translated it into” 要让每一个明天发现我们比今天走得远“.Version three writes that”集快马长剑，日日疾驰，待明日细数，功成如此“，which is too far away from the original text, and it cannot reoccur the amaze of the source poetry.

In the fourth stanza, “Art is long, and time is fleeting, And our hearts ……are beating Funeral marches to the grave.” Version one translated it as” 艺术长久，时光飞逝，我们的心尽管英勇而坚强“，version two translated it as “学艺费光阴，时日去匆忙，任我们的心勇敢又坚强”； translator in version three translated it as “任艺业无涯，光阴飞逝，彼壮士之心，英勇无疵”.From the sentence structure we can find that, the former two versions convey the original meaning better because we know that in this paragraph, here exists a comparison between the facts that our heart is brave and the facts that our heart is like a muffled drum which is beating funeral marches to the grave. Therefore, here should be words in the former part, here the words are “尽管“”任“. However, in the version three, the word”任” is used to decorate the ”art is long and time is fleeting.”, such transference actually has misinterpreted the meaning of the original text.

In the fifth stanza, “Be not like dumb, driven cattle! Be a hero in the strife!”, this sentence is translated into three different versions. Version one:”别作默默无声、任人驱使的牛羊，要在战斗中当一名闯将！”；Version two: “别作默默的牛羊任驱赶！要争取做英雄，能征惯战！”；Version three：“斯牛羊傀儡，安得其实，唯浴血烽火，终成其事”. Comparatively, version one is more flexible, because there is no limit in the number of the words in a line. But in version two, each line must have ten words, and in version three, each line has 8 words, which is set stable. Besides, version two and three separately added the external meaning of “能征惯战““终成其事”，but in the original text it is “Be a hero in the strife”, therefore, the two versions make some external decorations to the sentence.

In the sixth stanza, “Act—act in the living Present! Heart within, and God’s o’erhead!” version one goes that:”行动吧，就在活着的此刻行动！胸内有红心，头顶有上苍！”；version two goes that”干！在活生生的现在就干！胸中是赤心，上帝在云端！”；Translator in version three goes that”上苍行其道，我执其旨，即刻起征铎，不枉今日“；In the three versions, the former two versions are easier to understand, while the third one is more abstract because it transfers the role and function of “God”. Originally, God only is overhead, however, in version three, its function has changed, and also here the “act” is translated into”我行其旨”， which means that human’s action is actually obeying the hints of the God. This translation can better help readers understand why the poet put “God is overhead” here, which reflects the culture and religion of the western country, but in version one and two, such relationship is not so clear. All in all, the three versions have their own advantages and disadvantages, which are decided by the translators’ choice of expressions and their understanding of the poetry.

In the seventh stanza, “Lives of great men ……on the sands of time”, as for this sentence’s translation, version one goes that”伟大的人物的生平..我们也能使我们的一生变得高尚，在离开人间时，也能让足印……身后的时间的沙滩上” ；version two goes that“伟人的生平向我们指出：我们能使此生超群脱俗——一朝逝去，时间的沙滩上将留下脚印行行”；version three goes that“伟人之不朽，可为典示，倾我之所能，亦足至此，反肉身凡胎，终有一死，然我将留痕，流光之坻”；Similarly，the former two versions are more readable and easy to understand. However, the third version is far more beautiful and elegant, according to the principle that poetry translation is different from the daily conversation, and the expressions need to be elegant and beautiful. By enjoying the third translation, readers can fully and satisfactorily obtain the beauty and poet’s philosophic theory included in the poetry.

In the eighth stanza, “Footprints that perhaps another… Seeing, shall take heart again.”
Version one goes that“呵，足印！也许另一位弟兄，当他航行在生命庄严的海洋上，不幸遇难，看见了这些足印，他就会使勇气增长”；version two goes that“ 在庄严的生活之海航行，也许有兄弟会遭遇不幸，会因为航船沉没而绝望——但见那脚印，又变得顽强”； version three goes that “ 望生命之海，风急浪蚀，念天行无常，苦难游子，而前人足迹，必将明示，纵满盘皆输，壮志不失” These three translation versions have different effects upon readers. Version one did not translate the “shipwrecked” directly as “航船沉没“， but rather translated it as “不幸遇难”，which is actually more concise than version two”遭遇不幸，会因为航船沉没而绝望“. The three versions successfully achieve the effect of metaphor and translated it into”生命之海”,which can make the meaning of the original text more clear and vivid. Besides, the version three adds some special Chinese expressions such as “满盘皆输”“壮志不失”“苦难游子”“天行无常”， which are easy to understand for Chinese readers, however, it is not so easy for the other language speaking readers, so it is better to add some annotation in order to smooth the understanding.

In the ninth stanza, the poet summarize and sublime the theme of the poetry with “Still achieving, still pursuing, learn to labour and to wait.” Version one goes that”永远要有所作为，不断追求，学会劳动，也学会等待和期望。”；version two goes that“不断去收获，不断去追求；永远在学着苦干和等候。”；version three goes that “独精我所行，逐我所适，且耕且守望，丰收之时”. In version one, the word “labour” is translated as “劳动”,which is not so appropriate exactly. Version two translated it as“苦干”，and this is better because it is corresponding to the theme of this poetry——keeping acting in the living present. Version three, however, translated it into”耕“，which has the cultural meaning for readers. In China, “耕”means labour, and it is easy to understand.

===4. Conclusion===

Criticism and appreciation of poetry translation, just like poetry translation, it needs various principles to support it. Before you can make the poetry translation appreciation and criticism, it is necessary for you to know what is poetry and what are the principles of poetry translation. Various translators put forward different poetry writing and translating principles, which are also helpful for critics to appreciate the poetry translation.

The three versions of translation of ''A Psalm of Life'' successfully convey the meaning of the whole poetry to some extent, however, different versions have some differences in some detailed sentences because of the translator's different cultural backgrounds and translation strategies their respective translator chose. However, there is no doubt that the three are good translations, and they greatly help readers understand the original text better. In the process of appreciation and criticism, people can also learn how to translate poetry better, and this is a process of mutual promotion. Last but not least, the comparative analysis of different translations of poems is conducive for reader's understanding towards poems in front of the transcultural background. However, about criticism and appreciation of poetry translation, much more efforts are needed to explore more important methods of criticism and appreciation. There is still a long way to go.

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